Analyzing New Sensorium
The show named ‘New Sensorium Exiting from Failures of Modernization’ is to experiment with visual dimension; These late 1980 born Asian & Eurasian Artists trying to reconcile within the framework of how globalization and digital technologies effect the appearance of human being, existence and universe as ‘New Sensorium’. An assorted visual evidence how alteration in our information environment and alteration in digital technology transforming our relationship between material, information and our existence. Their works are highly moved by dynamic situations occurred by association and disassociation of traditional cultural memories with contemporary in realm of growing modernism and capitalism of past twenty years in Asia.
When Artists using technology and information by necessity it also involves them emotionally and they easily experience an emotional & observational bonding. Their work depends on the complete intuition, combining their thought and action; regardless about subject or object. Our advancement of informational environment, easy access of technology and distribution of data circulation made appropriate platform to analyze the relationships between the material, information, and our physicality which encouraged the artist to utilize digital media as tool. But dualism is the main idea among the artworks, which is not actually a functional ideology but represent a technical method of classification.
Interaction between design and user persona is so extensive and essential to make a design successful in terms of interaction with viewer. It is important to find a successful structure or framework to understand emotion of a various groups of user personas to make design acceptable, usable and enjoyable to make it versatile. The structure not necessary always remain same. These extremely talented artists selected their medium depending on the emotion physicality and their relationship with surroundings which make their practice an object of interpretation itself and in their practice digitality, physicality and emotionality always act upon each other. They are suggesting new alternative path from the “failures of modernization” and suggesting to utilize abundant potential elements by the method of emotional interactions. This highly talented group of media practitioners introduced us to an ideologically highly sophisticated infographics through their very own unique and innovative posses. They also used their understanding of how design works on viewer conscious and emotional level and established it through-out their practice.
The Raqs Media Collective: A Gesture of Hope?
The Raqs Media Collective group made an animated imitation from an old miniature painting ‘Dyeing Inayat Khan’. The original Mughal miniature painting was by ‘Balchand’ an Artist by Jahangir’s royal court. The painting depicted an important nobleman Inayat khan on his dying bed, alone entering the domain of non existence. But the Raqs group’s animated imitation practice tried present an uncertain path between existence and no existence, life and death. Using digital media as animated video to wheezing life into this seventeenth centuries dying man they tried to show what is life or what is the truth of morality. They projected state of trance between being animate and inanimate.
They intend to interact in different style through different points of time. In the process of practice or performance announce the condition for future practice, the art never stops, always in process. When different culture around interact and experiments they break previous cultural norm and creates a new dynamic cultural value. Though desire to reflect is not their primary need, reflection come what may in the practice. They use a life experience of the dying nobleman as fabric of construction on the palate of emotion. A sight become interesting when it tells a story and make a persona to conceive. Their practice also questions if time does have a distinctive arrow of linearity. Question of time disinteresting cross-historical or cross-geographical also relevant. No matter how strong is a force or a power inevitably it declines by its own futility. With ‘Dyeing Inayat Khan’, RAQ examine a material from past and gave it a force to let it travel to an unintended direction and bring it back in a form of recognition, stepped into this new, third domain of sense, New Sensorium.
If we take a city tour to wellington, we will be able to experience a various number of astonishing Graffiti or street art into the city. Those arts are considerably eccentric as the city itself and this quality evolve my interest on the subject. But they are completely challenged to urban concern as an act of property crime. Despite of its unsanctioned relation towards distribution of information, materials and existence it claimed its appellation as public art. However, Graffiti pushed its own boundaries of abstraction as we see in any other contemporary Art movements. Risk-weighted behavior taken up by young men intended for showing power or forces on the act of emotion. But no matter how strong the force of power is it is diminished by its own weight. Though it never stops, always in process. Though desire to reflect is not their primary need, reflection come what may in the practice. Here I can relate to ‘Dyeing Inayat Khan’ by The Raqs Media Collective group. Graffiti also not made to reflect Art, Art came in the process. It gives a sense of eternity, but the Art itself often do not survive but reborn.
My intention here to compare the idea towards abundance of recent cultural plan and acceptance toward public art. But the argument is can metropolitan initiative toward promoting the creative city can allocate opportunities and new meaning to graffiti as productive creative practice and change the way the creative practices of graffiti writers and street artists are valued!
But my main intention to succeed into capturing the memoirs of this momentary art practice through digital interaction design. I will discuss the process more elaborately into my next post.