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| research_report_cocky_eek [2009-08-25 12:09] – 87.210.211.132 | research_report_cocky_eek [2009-08-25 12:11] – 87.210.211.132 |
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| - I see roughly three visual highlights in the collection of Inflatable Inspirations: | == Three highlights in the visual collection of Inflatable Inspirations: == |
| * First of there is the starts of fully controlled dirigibles, in the highlighted period of 1904- 1919. The navigational capacity of airships introduced the first airborn passenger service. Pioneers in the States and Europe start to experiment with all kinds of airships till World War I- when air-balloons and lighter-then-air forms of transport came to be considered as outdated and ineffective. | * First of there is the starts of fully controlled dirigibles, in the highlighted period of 1904- 1919. The navigational capacity of airships introduced the first airborn passenger service. Pioneers in the States and Europe start to experiment with all kinds of airships till World War I- when air-balloons and lighter-then-air forms of transport came to be considered as outdated and ineffective. |
| * Then about 60 years later is another highlighted period lets say from 1967-1972. The times where Theo Botschuiver, Jeffrey Shaw,(part of the Eventstructure research Group), Haus-Rucker-Co, The Pepsi- Pavilion and AGIS created constructions with a strong physical and mental impact. These inflatables can be seen as devices that greatly encourages public interaction and proved to be very popular. Right now the Luminaria from the Architects of Air (UK) have been creating total experience environments very similar (athought with a wider variety of forms) to AGIS's constructions in the sixties as Colourspace and Dreamspace. Aswell Agis and the Architects of Air's spaces are so distinct from other exhibition spaces or art institutions that they can act as a beacon that entices people and arouses curiousity, even those who have no interest in art. Like then, the Architects of Air now still design and make all their patterns just by hand. Haus-Rucker-Co were concerned with the possiblity of achieving a higher state of consiousness by means of a concentrated spatial experience. Although their inflatables had no computational embeddings, their PVC envelopes were often decorated with the circuit board like pattern of dots and lines. From here it seems that the computer allowed us to continue where the spacial visions of the sixries and seventys had stopped. It allowed the creation of fascinating constructions of endless dynamic spaces, held together by complex continuous surfaces. To my feelings Yet many of these designs were and are lacking something. They remain digital artefacts, as they are created in the artificial limitless world of the computer and therefor do not deal with the parameters of the real physical world... | * Then about 60 years later is another highlighted period lets say from 1967-1972. The times where Theo Botschuiver, Jeffrey Shaw,(part of the Eventstructure research Group), Haus-Rucker-Co, The Pepsi- Pavilion and AGIS created constructions with a strong physical and mental impact. These inflatables can be seen as devices that greatly encourages public interaction and proved to be very popular. Right now the Luminaria from the Architects of Air (UK) have been creating total experience environments very similar (athought with a wider variety of forms) to AGIS's constructions in the sixties as Colourspace and Dreamspace. Aswell Agis and the Architects of Air's spaces are so distinct from other exhibition spaces or art institutions that they can act as a beacon that entices people and arouses curiousity, even those who have no interest in art. Like then, the Architects of Air now still design and make all their patterns just by hand. Haus-Rucker-Co were concerned with the possiblity of achieving a higher state of consiousness by means of a concentrated spatial experience. Although their inflatables had no computational embeddings, their PVC envelopes were often decorated with the circuit board like pattern of dots and lines. From here it seems that the computer allowed us to continue where the spacial visions of the sixries and seventys had stopped. It allowed the creation of fascinating constructions of endless dynamic spaces, held together by complex continuous surfaces. To my feelings Yet many of these designs were and are lacking something. They remain digital artefacts, as they are created in the artificial limitless world of the computer and therefor do not deal with the parameters of the real physical world... |
87.210.211.132