Technology Vs Nature Art – Magnetic ballet, 1961. Filter. Purchased with the support of Tate International Council, Tate Members, Tate Patrons and with the support of Art Fund 2019. Photo © Tate (Andrew Dunkley and Mark Heathcote)
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The natural world has interested artists for centuries through paintings, sculptures, and now in the context of video and virtual reality work. In the case of the Greek artist Takis, who first opened at Tate Modern, his training as a symbolic sculptor combined with his earlier movement towards a certain kind of scientific knowledge. One of the most important original artistic voices in 1960s Europe explored the creative potential of electromagnetism. Visitors to the show are first drawn to the collection of twisted wires that connect round magnetic strips. Rotating magnets cause these wire sculptures to twist and push them in a seemingly imperceptible direction. These works were state-of-the-art at the time.
Technology Vs Nature Art
Other works in the exhibition draw on the presence of unseen forces to create sound and movement, such as a musical field that creates random, spatial sounds, and magnetic ballet, a series of rotating spheres and magnets that move by themselves. love of life His materials themselves are both rare and rich, working with invisible forces to destroy them with life as if they were working in space. His work embodies a kind of respect for the natural world and an interest in how we interact with it.
How Digital Technology Will Change Our Relationship To Nature
Magnetic Field (detail), 1969. Solomon R. Guggenheim Museum, New York. An interesting gift, Robert Spitzer, in exchange, 1970. Photo: Solomon R. Guggenheim Museum, New York
Today, contemporary artists working in new technologies increasingly look to the natural world as a site of inquiry and exploration, in part to document how the dynamics of nature and the world can change as we plunge into deeper conflicts. In some ways, they were forerunners of the work of artists like Joan Jonas, whose mixed media tools penetrated many media and created a connection with the viewer. They all raise questions about how we understand and make sense of what we know about our world, whether it’s in our favorite weed or the radiation we don’t understand.
“Takis’s work contains a kind of respect for the natural world and shows a concern for how we interact with it”
Alicja Kwade, ParaPivot, The Roof Garden Commission. Installation view, Museum of Art, 2019. Courtesy of the artist; Gallery 303, New York; KÖNIG GALERIE, Berlin/London; and camel mennour, Paris/London; Metropolitan Museum of Art. Photo by Hyla Skopitz
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One of Takis’s works on display at Tate Modern is a large gong, played by an assistant every ten minutes, that reverberates around the room. This is a reference to the music of the parts, a concept that Takis was interested in – the sounds and harmonies created by the celestial bodies as they orbit each other. Viewers can come closer to understanding the music of the fan in an encounter with Polish sculptor Alicja Kwade’s Parapivot intervention, a fixed installation exhibited in New York on the roof of the National Museum of Art.
It consists of nine parts of different sizes, made of interesting marble from around the world, each representing one of the contemporary worlds. Kwade’s calling card plays with the laws of physics, much like her previous bronze paintings – here she carefully arranges these surfaces on a steel frame at an angle to each other, while the other parts also seem to settle in the middle. air. Their delicate balance turns the ceiling into a reflection in the sky.
Laurent Grasso, Otto, 2018. Still from the HD movie. Laurent Grasso / ADAGP Paris, 2018. Courtesy of the artist & Perrotin
At the moment, a clear sky is floating in the Australian sky in the work of Laurent Gross, whose multimedia exhibition OttO was exhibited in Perrotin in 2018. OttO, like the work of Takis, deals with the abstract but real power of nature, such as radiation. , and the installation becomes a gathering space for visitors as well as the placement of Steiner machines and measuring instruments around the gallery.
Nature And Technology In Harmony. 60×60 Cm Acryl On Canvas
OttO was filmed in the Australian desert and Grasso worked with Aboriginal groups and art groups, using thermal cameras to reproduce and reflect the electrical currents and light emanating from these landscapes. Common visual references—the mountain ridges that surround the Earth, or the familiar orange color of the desert—are haunted by the elements above them.
“As the materials available to the artist change, this connection between art and the natural world can take on new imaginative forms.”
Grasso uses digital technology to create worlds and enhance them in “realistic” natural settings. The camera itself – the technology used to document the work – becomes a kind of creature in Otto, like a measuring device that can reveal new aspects of a known landscape in a different way, just looking at it with naked eyes. As the materials available to the artist change and change, this intersection between art and the natural world can also take on new and imaginative forms.
The work of Jakob Kudsk Steensen is also found in this intersection of art, nature and imagination. One of his latest projects, RE-Animated, is based on a bird call that disappeared in 1987. Kudsk Steensen interviewed biologists and did what he called “digital gardening”, collecting and planting different types of plants and caring for animals . in a virtual world designed by Steensen with algorithms.
Portraying The Fusion Of Technology And Nature In A Harmon 30691509 Stock Photo At Vecteezy
The animated landscape responds to the energy each visitor brings – and to the incomprehensible details as they breathe and reshape the virtual environment. Everything seems very familiar, but it is not right. Steensen draws attention to subtle changes in what we can perceive of our world—such as the nature of water, the movement of light—to draw attention to the way we perceive and ignore changes in our environment.
While Steensen documents the natural world as a digital source of text in his installations, other parts of the world cannot be simply documented. Glaciers retreat and melt, releasing long-dead organisms or organisms that provide information about the climate of which the glaciers are a part. In effect, they are erasing their own history. Digital artist Mark Dorf sought to document a specific glacial range, Pariacaca in the Peruvian Andes, by photographing them in specific locations and placing those images on a separate cable. After that, the USB devices were embedded in concrete and covered with water, and then placed in the same place where the images were taken.
You must visit these links to see the images. What these glaciers looked like at the time was only available in space itself – no version existed in real life or online. But these cables are not controlled by Dorf; it is up to the guests whether they want to repair or maintain them, or in any way change the system that Dorf has started. The cable thus becomes part of the very nature of the endangered ecosystem. While we may pay close attention to the world we’re immersed in, we inevitably watch it lose some of the things that make it so compelling.
The statistical nature of the natural world is a central concern in the work of Sarah Meyohas, whose installation Cloud of Petals uses technology from the now-defunct Bell Labs to catalog and produce a flower. As technology opens the door to understanding the world we already exist in, it presents new challenges in how we categorize it. A team of sixteen male workers gathered from temporary employment agencies selected 10,000 drawn rose petals and stored them in a large archive.
Paper Art With The Concept Of Nature In The Afternoon With Generative Ai Technology Stock Illustration
“As technology opens the door to a better understanding of the world, it offers new challenges to the way we categorize it”
These images then become the data to train the algorithm; learned how to make new simulated petals as part of a VR installation where human input dictates how they move and what they do. However, they are virtual and will never have the properties of the real thing. Hita Steyerl’s GAN produced at the Serpentine uses the concept of an incomprehensible gap between the actual types of events that have evolved to show the extent to which our reality is being created and what role new technologies can play in this.
The same installations, ideas work in many areas. They don’t care if they are not very good and you will recognize their content even if you don’t expect it. In the 1970s, the French realist Roger Caillois wrote about diagonal science, arguing that the way we divide knowledge into arbitrary, subchannels of logic causes us to lose essential, if accidental, connections.
Takis was serious about what he saw again
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