[Press Release]
2014，6/21，17：00-19：00
Artists: Jeffrey Shaw
Collaborating Artists in AVIE:
Jean Michel Bruyère, Matthew McGinity,Delphine Varas, Thierry Arredondo
500 movies filmed between 1999 and 2007 by Jean Michel Bruyère, which are related to Actaeon’s tragedy to which LA DISPERSION DU FILS itself is referring: it is constituted by the chaos of the memory-images of Actaeon. It proposes to enter in the stomach of one of the fifty hounds of Actaeon, just after Actaeon who found naked Diana bathing had been killed, scattered and devoured by his own horde, as he was confounded with the prey.In this 360° immersive, interactive and stereoscopic environment, the spectator may progress through the narrative and explore the constituent threads whose aspect and spatial distribution are redefi ned and recomposed infi nitely. LA DISPERSION DU FILS is designed to unfold without interruption for hours or days at a time.
About the Artist
Jeffrey Shaw (b. 1944) has been a leading figure in new media art since the 1960′s. In a prolific body of internationally exhibited and acclaimed works, he has pioneered and set benchmarks for the creative use of digital media in the fields of expanded cinema, virtual and augmented reality, immersive visualization and interactive narrative. Shaw was co-founder of the Eventstructure Research Group in Amsterdam (1969-1979), and founding director of the ZKM Institute for Visual Media Karlsruhe (1991-2002). In 2003 he co-founded and directed the UNSW iCinema Centre for Interactive Cinema Research in Sydney, and in 2009 Shaw was appointed Chair Professor of Media Art and Dean of the School of Creative Media at City University in Hong Kong, where he is also Director of the ACIM and ALiVE research centres. In 2014 Shaw was appointed Visiting Professor at the Institute of Global Health Innovation, Imperial College London.
About AVIE （The Advanced Visualization and Interaction Environment）
AVIE installation is a 360 degree stereoscopic projection installation that culminates Jeffrey Shaw’s long-term research into panoramic representation and modalities of immersive interactive visualization. Its aesthetic and operative paradigm is a fully surrounding cinematic space of representation whereby viewers are free to move about and choose their own personal areas of interest and attention span. It breaks away from the perspectival framing of the subject that has been a hallmark of Western painting and cinema, and releases new forms of immersive representation, new methodologies of spatially distributed narrative and new dimensions of embodied audience experience.
