A-MAZE Artists Update 2022: On the development of the <i>Boundless – Worlds in Flux</i> virtual world

Gunn, Fion; Kendal, Maureen; Kass, Barney; Hudson, Alan; Chen, Mei-Tsen

doi:10.14236/ewic/EVA2022.32

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A-MAZE Artists Update 2022: On the development of the Boundless – Worlds in Flux virtual world

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proceedings-article

Author(s): Fion Gunn , Maureen Kendal , Barney Kass , Alan Hudson , Mei-Tsen Chen

Publication date (Print): July 2022

Conference name: Proceedings of EVA London 2022 (EVA 2022)

Conference theme: Use of new and emerging technologies in Digital Art, Data, Scientific and Creative Visualisation, Digitally Enhanced Reality and Everyware, 2D and 3D Imaging, Display and Printing, Mobile Applications, Museums and Collections, Music, Performing arts, and Technologies, Open Source and Technologies, Preservation of Digital Visual Culture, Virtual Cultural Heritage, Ethical Issues, Historical Issues, Digital Culture, Artificial Intelligence, NFTs

Conference date: 4–8 July 2022

Keywords: Digital collectibles, Immersive realities, Artist collectives, Ecology, Virtual reality

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Abstract

Building on previous development, the A-Maze artists continue to develop ‘Boundless – Worlds in Flux – a Virtual Reality platform with a hub leading to different Artists’ spaces. During 2021, the team has reached out to museums, site-specific communities, user groups and expanded the team to include new design developers. This paper will chart this development, new insights, challenges and next steps. Insights include the response to global crises and transitional change; conversations with cultural theorists, other Artists and Artists’ collectives, curators and audiences; new perspectives on the Museum experience and decolonisation of collections, site-specific artworks and the embedding of cultural life within the community; aesthetic considerations; technical problem-solving and team-working.

Content

Author and article information

Contributors

Fion Gunn

Maureen Kendal

Barney Kass

Alan Hudson

Mei-Tsen Chen

Conference

Publication date: July 2022

Publication date (Print): July 2022

Pages: 169-176

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[0001]31 Stanthorpe Road

London SW16 2DZ, UK

[0002]13 Golders Green Crescent,

London, NW11 8LA, UK

[0003]29 Elkstone Road, London,

W105NT, UK

[0004]3 Priory Place, Wells, Somerset,

BA5 1SP; 117a Iverson Road,

London, NW6 2RA, UK

[0005]26 rue des Plantes

75014 Paris,

France

Article

DOI: 10.14236/ewic/EVA2022.32

SO-VID: e09c272d-6e53-4aa7-bf4b-ef0d75b47feb

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: Proceedings of EVA London 2022

Conference acronym: EVA 2022

Conference number:

Conference location: London

Conference date: 4–8 July 2022

Conference sponsor: Electronic Workshops in Computing (eWiC)

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1477-9358 BCS Learning & Development

Self URI (article page): https://www.scienceopen.com/hosted-document?doi=10.14236/ewic/EVA2022.32

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

REFERENCES

Artnews (2022) ‘Open’ exhibition by Doug Aiken, using Vortic VR platform, February–March 2022. https://www.artnews.com/art-news/news/doug-aitken-vr-exhibition-1234619186/ (retrieved 18th February 2022)
G. Bateson (2000) Steps to an Ecology of Mind. Chicago University Press.
R. Braidotti (2018) Posthuman Ecologies: Rowman & Littlefield International.
Meit-Sen Chen (2022) https://www.chenmeitsen.com (retrieved 28th Feb 2022).
M. Coverley (2012) The art of wandering, Old Castle Books.
C. Elwes (2015) Installation and the Moving Image. Wallflower Press, London & New York.
S. Field (2021) Scenographic Design Drawing, Bloomsbury
M FoaJ. GrisewoodB. Hosea, and C McCall, (2020) Performance Drawing, Bloomsbury
C. Grant (2022) In conversation with the A-Maze Artists collective
F GunnM. Kendal and M. Mulla (2020) An Exploration of How Artists Use Immersive Technologies to Promote Inclusivity. In: J. WeinelJ.P. BowenG. Diprose, and N. Lambert (eds), EVA London, Electronic Visualisation and the Arts (EVA 2020). doi: 10.14236/ewic/EVA2020.36
F. Gunn (2021) https://www.fiongunn.org/virtual-reality-works.html (retrieved February 18th 2022)
C. Hardyment (2012) ‘Writing Britain: Wastelands to Wonderlands’, Publisher British Library.
A. Hudson and M. Kendal (2011) On the Beach – A handbook for using 3D virtual digital platforms. In: J.P. BowenS. Dunn, and K. Ng (eds) (2011) EVA London 2011: Electronic Visualisation and the Arts. London: British Computer Society.
A. Hudson (2022) http://www.newsynthetictheatre.co.uk (retrieved February 28th 2022)
A. Hudson (2022) In conversation with the Amaze Artists collective.
B. Kass (2022) In conversation with the Amaze Artists collective.
B. Kass (2022) https://www.barneykass.com (retrieved February 18th 2022)
M KendalM. MullaThomaziE. Freitas (2019) How Artists Can Develop Their Artwork, Its Market and Deliver Their Creative Content for Virtual Reality Environments? In: J. WeinelJ.P. BowenG. Diprose, and N. Lambert (eds) (2019) EVA London 2019: Electronic Visualisation and the Arts. London: British Computer Society. doi: 10.14236/ewic/EVA2019.54
M KendalF. Gunnet al(2021) The Evolving Collaboration – AMazed! The A-Maze artists investigate immersive technology to create imagination and artifice, In: J. WeinelJ.P. BowenG. Diprose, and N. Lambert (eds), Electronic Visualisation and the Arts (2021) EVA London UK. doi: 10.14236/ewic/EVA2021.24
M. Kendal (2021) https://dreamstudio.io/amaze_artists/ (retrieved February 18th 2022)
J. Linowes (2020) Unity 2020 Virtual Reality Projects: Packt Publishing.
S. Manghani (2021–2022) Conversations between the A-Maze Artists and Professor Sunil Manghani, Winchester College of Art/ Southampton University.
L. Moore (2018) The Shaman of Cybernetic Futures; Cybernetics and Human Knowing. Vol. 25 (2018), nos. 2-3, pp. 119–141
Open Brush (2022) on steam https://store.steampowered.com/app/1634870/Ope n_Brush/ (retrieved 27th February 2022)
Open Brush (2022) https://docs.openbrush.app/user-guide/exporting-open-brush-sketches-to-other-apps#styly (retrieved 27th February 2022)
Nazia Parvez (2012) https://www.artconnect.com/nazia-parvez/portfolio
M Piercy (1993) He, She and It (published under the title Body of Glass outside the USA) Published by Knopf, (1991
M Shelley (1818) Frankenstein; Penguin Classics, 2003
S. Stewart (1993,) On Longing, Narratives of the miniature, the Gigantic, the Souvenir, the Collection, Duke University Press, Durham and London
StackOverflow (2022) https://stackoverflow.com, (retrieved 27th February 2022)
T Tricket (2022) Through the Looking Glass to a post-pandemic world, with new media artists as our guide. In: J.P. BowenJ. WeinelA. Borda, and G. Diprose (eds) (2022) EVA London 2022: Electronic Visualisation and the Arts. London: British Computer Society.

Comments

Comment on this article

[1] Artnews (2022) ‘Open’ exhibition by Doug Aiken, using Vortic VR platform, February–March 2022. https://www.artnews.com/art-news/news/doug-aitken-vr-exhibition-1234619186/ (retrieved 18th February 2022)

[2] G. Bateson (2000) Steps to an Ecology of Mind. Chicago University Press.

[3] R. Braidotti (2018) Posthuman Ecologies: Rowman & Littlefield International.

[4] Meit-Sen Chen (2022) https://www.chenmeitsen.com (retrieved 28th Feb 2022).

[5] M. Coverley (2012) The art of wandering, Old Castle Books.

[6] C. Elwes (2015) Installation and the Moving Image. Wallflower Press, London & New York.

[7] S. Field (2021) Scenographic Design Drawing, Bloomsbury

[8] M FoaJ. GrisewoodB. Hosea, and C McCall, (2020) Performance Drawing, Bloomsbury

[9] C. Grant (2022) In conversation with the A-Maze Artists collective

[10] F GunnM. Kendal and M. Mulla (2020) An Exploration of How Artists Use Immersive Technologies to Promote Inclusivity. In: J. WeinelJ.P. BowenG. Diprose, and N. Lambert (eds), EVA London, Electronic Visualisation and the Arts (EVA 2020). doi: 10.14236/ewic/EVA2020.36

[11] F. Gunn (2021) https://www.fiongunn.org/virtual-reality-works.html (retrieved February 18th 2022)

[12] C. Hardyment (2012) ‘Writing Britain: Wastelands to Wonderlands’, Publisher British Library.

[13] A. Hudson and M. Kendal (2011) On the Beach – A handbook for using 3D virtual digital platforms. In: J.P. BowenS. Dunn, and K. Ng (eds) (2011) EVA London 2011: Electronic Visualisation and the Arts. London: British Computer Society.

[14] A. Hudson (2022) http://www.newsynthetictheatre.co.uk (retrieved February 28th 2022)

[15] A. Hudson (2022) In conversation with the Amaze Artists collective.

[16] B. Kass (2022) In conversation with the Amaze Artists collective.

[17] B. Kass (2022) https://www.barneykass.com (retrieved February 18th 2022)

[18] M KendalM. MullaThomaziE. Freitas (2019) How Artists Can Develop Their Artwork, Its Market and Deliver Their Creative Content for Virtual Reality Environments? In: J. WeinelJ.P. BowenG. Diprose, and N. Lambert (eds) (2019) EVA London 2019: Electronic Visualisation and the Arts. London: British Computer Society. doi: 10.14236/ewic/EVA2019.54

[19] M KendalF. Gunnet al(2021) The Evolving Collaboration – AMazed! The A-Maze artists investigate immersive technology to create imagination and artifice, In: J. WeinelJ.P. BowenG. Diprose, and N. Lambert (eds), Electronic Visualisation and the Arts (2021) EVA London UK. doi: 10.14236/ewic/EVA2021.24

[20] M. Kendal (2021) https://dreamstudio.io/amaze_artists/ (retrieved February 18th 2022)

[21] J. Linowes (2020) Unity 2020 Virtual Reality Projects: Packt Publishing.

[22] S. Manghani (2021–2022) Conversations between the A-Maze Artists and Professor Sunil Manghani, Winchester College of Art/ Southampton University.

[23] L. Moore (2018) The Shaman of Cybernetic Futures; Cybernetics and Human Knowing. Vol. 25 (2018), nos. 2-3, pp. 119–141

[24] Open Brush (2022) on steam https://store.steampowered.com/app/1634870/Ope n_Brush/ (retrieved 27th February 2022)

[25] Open Brush (2022) https://docs.openbrush.app/user-guide/exporting-open-brush-sketches-to-other-apps#styly (retrieved 27th February 2022)

[26] Nazia Parvez (2012) https://www.artconnect.com/nazia-parvez/portfolio

[27] M Piercy (1993) He, She and It (published under the title Body of Glass outside the USA) Published by Knopf, (1991

[28] M Shelley (1818) Frankenstein; Penguin Classics, 2003

[29] S. Stewart (1993,) On Longing, Narratives of the miniature, the Gigantic, the Souvenir, the Collection, Duke University Press, Durham and London

[30] StackOverflow (2022) https://stackoverflow.com, (retrieved 27th February 2022)

[31] T Tricket (2022) Through the Looking Glass to a post-pandemic world, with new media artists as our guide. In: J.P. BowenJ. WeinelA. Borda, and G. Diprose (eds) (2022) EVA London 2022: Electronic Visualisation and the Arts. London: British Computer Society.