Sculpting in Time and Space: Interactive Work
Leonardo, Apr. 2001, v. 34, no. 2, pp. 100-107
Written by the artists themselves, this article provides insight into their work. It is intended to inspire the development of new technologies, including a wireless telerobotic video camera for streaming video to the Web from remote locations. Hartzell and Sobell have experimented with the Web to develop its potential for creative, collaborative expression and to explore and sculpt the boundaries between physical space and cyberspace. Most of their works grew directly out of Nina Sobell's interactive video installations of the early 1970s, in which she used the medium to sculpt space and time and to create bridges for shared human experience. Their inspiration in ParkBench has been to address the physical disconnectedness of the information age by creating a safe place to congregate in cyberspace.
ITEM 2001.130 – available for viewing in the Research Centre
Videos, Artworks and Artists Cited
ParkBench (1994), ArTisTheater (1994), VirtuAlice, Alice Sat Here, Dance in a Moving Mirror, Connecting the Dots, Web Séance: Brainwave Drawing, Séance – Emily Hartzell
ParkBench (1994), The Disintegration of Objects within a Sequential Time Period (1971), Interactive Brainwave Drawing: EEG Telemetry Environment (1975), Videophone Voyeur (1977), In and Out the Window (1979), Six Moving Cameras/Six Surveillance Views (1981), Window on AIDS, Our Unpreparedness for Dying, Death, and Mourning and The Latch Key Kids' Show, ArTisTheater (1994), VirtuAlice, Alice Sat Here, Dance in a Moving Mirror, Connecting the Dots, Web Séance: Brainwave Drawing, Séance, Exhumed (1991) – Nina Sobell
Connecting the Dots, Web Séance: Brainwave Drawing, Séance – Jesse Gilbert
Séance – Sonya Allin