The Making of a Digital (Master)Piece

This presentation is a forthright insight into the development and completion of digital artwork; This Much I’m Worth (The self-evaluating artwork) from prototype to large scale finished piece. This Much I’m Worth continually assesses and displays its sale price governed by a complex set of algorithms called “The Endorsers”. Raising questions about values and who apportions them; is it clear how we, as a society, value objects or even people or are those systems really hidden? This Much I’m Worth won the Aesthetica Prize in 2016 and since then the artist has been working on a larger scale spectacular version of the piece in full neon. Over 3 metres wide, the new piece combines 71 pieces of neon controlled, via recycled server room equipment, by the endorsers, the internet of things and other technologies. This Much I’m Worth is part of a wider body of work that addresses feminist issues, conspiracies of silence and misinformation. The final version of the piece has been a challenging and formidable project made all the more complex by the artist’s own ambition to work with only women experts in fields dominated by men. The talk will also touch upon issues related to the making around: outsourcing skills, data-mining, methodologies and alternative technologies as well as practical issues of funding, documentation and ongoing algorithmic support of a digital project.

Content

Author and article information

Contributors

Rachel Ara

Conference

Publication date: July 2017

Publication date (Print): July 2017

Pages: 327-334

Affiliations

[0001]Thames-Side Studios

London SE18, UK

Article

DOI: 10.14236/ewic/EVA2017.67

SO-VID: 19973f42-a407-4241-87c8-299889cd7cf4

License:

This work is licensed under a Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/

Conference name: Electronic Visualisation and the Arts (EVA 2017)

Conference acronym: EVA

Conference number:

Conference location: London, UK

Conference date: 11 – 13 July 2017

Conference sponsor: Electronic Workshops in Computing (eWiC)

Conference theme: Electronic Visualisation and the Arts

History

Product

1477-9358 BCS Learning & Development

Self URI (article page): https://www.scienceopen.com/hosted-document?doi=10.14236/ewic/EVA2017.67

Self URI (journal page): https://ewic.bcs.org/

8. REFERENCES

V. T. VischE. S. TanD. Molenaar 2010 The Emotional and Cognitive Effect of Immersion in Film. Viewing Cognition & Emotion 24 8 1439 1445 DOI:10.1080/02699930903498186
B. Balázs 1953 Theory of the Film; Character and Growth of a New Art. Roy Publishers
S. SerafínG. Serafín 2004 Sound Design to Enhance Presence in Photorealistic Virtual Reality Proceedings of ICAD ’04: Tenth Meeting of the International Conference on Auditory Display Sydney, Australia 6-9 July
M. FornerinoA. Helme-GuizonD. Gotteland 2008 Movie Consumption Experience and Immersion: Impact on Satisfaction Recherche et Applications en Marketing 23
M. SlaterM. Usoh 1993 Presence in Immersive Virtual Environment VR 93: Proceedings of the Third Annual Conference on Virtual Reality 34 42 Virtual Reality International
C. Davies 2005 Landscapes of Ephemeral Embrace: A Painter’s Exploration of Immersive Virtual Space as a Medium for Transforming Perception Thesis for Doctor of Philosophy. University of Plymouth Plymouth, UK
G. M. Gatti 2009 From the Technological Herbarium (2) - Osmose by Char Davies. AVINUS Press. Berlin
D. Thalmann 1997 Introduction to Virtual Environments. Paper presented at the International Conference on Multimedia Modeling.
S. G. Weinbaum 1935 Pygmalion’s Spectacles. Project Gutenburg 2007
L. D. Rosenblum 2010 See What I’m Saying: The Extraordinary Powers of Our Five Senses. W.W. Norton & Company New York, London
J. C. MiddlebrooksD. M. Green 1991 Sound Localization by Human Listeners Annual Reviews Psychology 42 135 159
C. Morgan-Feir 2013 Lost in the Memory Palace: Janet Cardiff and George Bures Miller. Art Gallery of Ontario Canada

Comments

Comment on this article

[1] V. T. VischE. S. TanD. Molenaar 2010 The Emotional and Cognitive Effect of Immersion in Film. Viewing Cognition & Emotion 24 8 1439 1445 DOI:10.1080/02699930903498186

[2] B. Balázs 1953 Theory of the Film; Character and Growth of a New Art. Roy Publishers

[3] S. SerafínG. Serafín 2004 Sound Design to Enhance Presence in Photorealistic Virtual Reality Proceedings of ICAD ’04: Tenth Meeting of the International Conference on Auditory Display Sydney, Australia 6-9 July

[4] M. FornerinoA. Helme-GuizonD. Gotteland 2008 Movie Consumption Experience and Immersion: Impact on Satisfaction Recherche et Applications en Marketing 23

[5] M. SlaterM. Usoh 1993 Presence in Immersive Virtual Environment VR 93: Proceedings of the Third Annual Conference on Virtual Reality 34 42 Virtual Reality International

[6] C. Davies 2005 Landscapes of Ephemeral Embrace: A Painter’s Exploration of Immersive Virtual Space as a Medium for Transforming Perception Thesis for Doctor of Philosophy. University of Plymouth Plymouth, UK

[7] G. M. Gatti 2009 From the Technological Herbarium (2) - Osmose by Char Davies. AVINUS Press. Berlin

[8] D. Thalmann 1997 Introduction to Virtual Environments. Paper presented at the International Conference on Multimedia Modeling.

[9] S. G. Weinbaum 1935 Pygmalion’s Spectacles. Project Gutenburg 2007

[10] L. D. Rosenblum 2010 See What I’m Saying: The Extraordinary Powers of Our Five Senses. W.W. Norton & Company New York, London

[11] J. C. MiddlebrooksD. M. Green 1991 Sound Localization by Human Listeners Annual Reviews Psychology 42 135 159

[12] C. Morgan-Feir 2013 Lost in the Memory Palace: Janet Cardiff and George Bures Miller. Art Gallery of Ontario Canada

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