Rebecca Allen (artist)

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Rebecca Allen
Rebecca Allen JI1.jpg
Rebecca Allen in 2007
Born1953 (age 7071)
NationalityAmerican
Education Rhode Island School of Design,
Massachusetts Institute of Technology
Known for Digital Art
Website www.rebeccaallen.com/home

Rebecca Allen is an internationally recognized digital artist inspired by the aesthetics of motion, the study of perception and behavior and the potential of advanced technology. Her artwork, which spans four decades and takes the form of experimental video, large-scale performances, live simulations and virtual and augmented reality art installations, addresses issues of gender, identity and what it means to be human as technology redefines our sense of reality. [1]

Contents

Early life

Allen began her art practice in the early 1970s while working toward a B.F.A. degree at the Rhode Island School of Design (RISD). [1] She received her Master of Science degree in 1980 from the Architecture Machine Group (predecessor to the MIT Media Lab) at Massachusetts Institute of Technology. [2] [3]

Select works

Swimmer (1981)

"Swimmer" is a looping video animation that Allen curated to show human animation using technology. It was displayed on the exhibition entitled A Retrospective in 1986., which was hosted by SIGGRAPH. [4]

Steps (1982)

"Steps" is a video performance that Allen animated with the goal of creating a human in a virtual space. The video itself showcases a series of digitally animated people walking up a staircase on a looped motion. This piece was displayed in the 1986 exhibition entitled A Retrospective, showcased by SIGGRAPH. [5]

The Catherine Wheel (1982)

In creating "The Catherine Wheel" Allen worked alongside the choreographer Twyla Tharp. [6] Tharp later used the animation for this video in her PBS video film of the same title. This project is a two and a half minute video that Allen created animation for. [7] [8] Allen composed this piece when she worked at the New York Institute of Technology Computer Graphics Laboratory. She produced the animation of St. Catherine by placing a mathematically derived wireframe around the performer which allowed every stride made by the performer. A keyframe was captured allowed for the illusion of a continuous movement of the dancer. [9]

Emergence (1997-2001) [software used for The Bush Soul, Coexistence]

This PC-based software system was generated by Allen as a form to create interactive art. [10] The system contains three dimensional computer generated environments and autonomous animated characters. [11] Alongside generating this virtual reality the figures in this piece are displayed in real-time. By having these avatars interact in real time it allowed users to become avatars in the piece. There are also music, voices, and other accompanying sounds that help connect people to the virtual world. which allowed people to use forms of communication that rely on gestures, movements and behaviors. [10]

The Bush Soul (#1) (1997)

The first piece of a series of three interactive art installations which involve artificial life, behavior, tactile interfaces and 3D virtual environment. [12] This piece is set on a 4 inch by 8 inch digital screen and allows for people to role play and become avatars in an artificial world. The Bush soul is a concept based on a West African belief that a person can have more than one soul, and plays with that idea in order to involve people in role playing into their avatar. [13] The software that was used in this installation was one that Allen created, entitled Emergence. [14] The art installation was also featured in the SIGGRAPH Touchware Art show in the year of 1998. [15]

The Bush Soul (#2) (1998)

The "Bush Soul (#2)" is the second piece of a three art installation from the same title by Allen, falling back on the concepts from its predecessor, ("The Bush Soul #1") building on the ideas of artificial life, behavior, tactile interfaces and 3D virtual environment. This is Allen's second piece of work to be created with the "Emergence" software. The medium that it falls under, and the method of which it was presented was by the use of a Panorama picture. [16] The piece was later noted for being included in the Exhibition Art and Aesthetics of Artificial Life in the year 1998, [17] as well as being featured in the art exhibition in the museum Centro Culturale Claudio Trevi in 1999. [18]

The Bush Soul (#3) (1999)

"Bush Soul (#3)" is the third and final art installation in the Bush Soul series. "Bush Soul #3" was built off of the similar concepts Allen envisioned and practiced in "The Bush Soul #2" and "The Bush Soul #1". Allen continued to work with generating a world based around artificial life, the interaction on human behavior, tactile interfaces and 3D virtual environment, similar to the prior projects. This final addition to the three piece installation functions by having a force-feedback joystick. This provides the user with both navigation and tactile sensations. Also, it got its software program from the same software used in "Bush Soul #2" called Emergence. This piece was also worked on and funded by the Stephen Petronio Dance Company. Also, it received funding in part by the Intel Research Council. [19] This piece also was featured in several Exhibitions, such as Women in Science (Genomically Yours) in 2003, [20] ACM Siggraph festival in 2001. [21]

Coexistence (2001)

Coexistence was an interactive art installation that blurs the boundaries between physical and virtual realities. People experience a shared world of mixed reality through a unique sensory interface using breathing and haptics. Funded by IDII Interaction Design Institute Ivrea, Italy. This piece is built with the use of two personal computers and two head mounted displays. The piece also used head tracking and attached digital cameras, supplemented by two prototype interface devices. Each prototype interface device contains a breath sensor and modified force feedback to the original game pad. The software for this art installation or piece is built on the real-time video and real-time 3D animation; Emergence. [22]

The Brain Stripped Bare (2002)

The Brain Stripped Bare was an installation and performance by Allen where she considers a future where we live simultaneously in multiple realities, where the boundaries between physical and virtual reality are blurred and thoughts are expressed telepathically. The technology she created provided an enhanced life experience. With this in mind though, Allen created sophisticated forms of surveillance that track our behaviors, our movements and our identity. [23] This piece was Commissioned as part of the rhein.tanzmedia.net-Prize Partially funded by the Intel Research Council. [24] This work was also presented in the Duisburger Akzente: ICHS Festival in 2003. [25]

Art exhibitions and performances

Awards

Related Research Articles

<span class="mw-page-title-main">SIGGRAPH</span> Conference on computer graphics

SIGGRAPH is an annual conference centered around computer graphics organized by ACM, starting in 1974. The main conference is held in North America; SIGGRAPH Asia, a second conference held annually, has been held since 2008 in countries throughout Asia.

<span class="mw-page-title-main">Digital art</span> Collective term for art that is generated digitally with a computer

Digital art refers to any artistic work or practice that uses digital technology as part of the creative or presentation process. It can also refer to computational art that uses and engages with digital media.

<span class="mw-page-title-main">Interactive art</span> Creative works that rely on viewer input and feedback to provoke emotional responses

Interactive art is a form of art that involves the spectator in a way that allows the art to achieve its purpose. Some interactive art installations achieve this by letting the observer walk through, over or around them; others ask the artist or the spectators to become part of the artwork in some way.

<span class="mw-page-title-main">Virtual cinematography</span> CGI essentially

Virtual cinematography is the set of cinematographic techniques performed in a computer graphics environment. It includes a wide variety of subjects like photographing real objects, often with stereo or multi-camera setup, for the purpose of recreating them as three-dimensional objects and algorithms for the automated creation of real and simulated camera angles. Virtual cinematography can be used to shoot scenes from otherwise impossible camera angles, create the photography of animated films, and manipulate the appearance of computer-generated effects.

Interval Research Corporation was founded in 1992 by Paul Allen and David Liddle. It was a Palo Alto laboratory and technology incubator focusing on consumer product applications and services with a focus on the Internet.

<span class="mw-page-title-main">Toni Dove</span> American sculptor; interactive film, installation and performance art

Toni Dove lives and works in New York. Since the early 1990s, she has produced unique and highly imaginative embodied hybrids of film, installation and performance. In her work, performers and participants interact with an unfolding narrative, using interface technologies such as motion sensing to “perform” on-screen avatars.

<span class="mw-page-title-main">Daniel J. Sandin</span> American artist and researcher

Daniel J. Sandin is an American video and computer graphics artist, designer and researcher. He is a Professor Emeritus of the School of Art & Design at University of Illinois at Chicago, and co-director of the Electronic Visualization Laboratory (EVL) at the University of Illinois at Chicago. He is an internationally recognized pioneer in computer graphics, electronic art and visualization.

Thomas Albert "Tom" DeFanti is an American computer graphics researcher and pioneer. His work has ranged from early computer animation, to scientific visualization, virtual reality, and grid computing. He is a distinguished professor of Computer Science at the University of Illinois at Chicago, and a research scientist at the California Institute for Telecommunications and Information Technology (Calit2).

The Electronic Visualization Laboratory (EVL) is an interdisciplinary research lab and graduate studies program at the University of Illinois at Chicago, bringing together faculty, students and staff primarily from the Art and Computer Science departments of UIC. The primary areas of research are in computer graphics, visualization, virtual and augmented reality, advanced networking, and media art. Graduates of EVL either earn a Masters or Doctoral degree in Computer Science.

<span class="mw-page-title-main">Maurice Benayoun</span> French visual artist and theorist

Maurice Benayoun is a French new-media artist, curator, and theorist based in Paris and Hong Kong.

<span class="mw-page-title-main">Virtual art</span>

Virtual art is a term for the virtualization of art, made with the technical media developed at the end of the 1980s. These include human-machine interfaces such as visualization casks, stereoscopic spectacles and screens, digital painting and sculpture, generators of three-dimensional sound, data gloves, data clothes, position sensors, tactile and power feed-back systems, etc. As virtual art covers such a wide array of mediums it is a catch-all term for specific focuses within it. Much contemporary art has become, in Frank Popper's terms, virtualized.

A projection augmented model is an element sometimes employed in virtual reality systems. It consists of a physical three-dimensional model onto which a computer image is projected to create a realistic looking object. Importantly, the physical model is the same geometric shape as the object that the PA model depicts.

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<span class="mw-page-title-main">Hao Li</span> American computer scientist & university professor

Hao Li is a computer scientist, innovator, and entrepreneur from Germany, working in the fields of computer graphics and computer vision. He is co-founder and CEO of Pinscreen, Inc, as well as associate professor of computer vision at the Mohamed Bin Zayed University of Artificial Intelligence (MBZUAI). He was previously a Distinguished Fellow at the University of California, Berkeley, an associate professor of computer science at the University of Southern California, and former director of the Vision and Graphics Lab at the USC Institute for Creative Technologies. He was also a visiting professor at Weta Digital and a research lead at Industrial Light & Magic / Lucasfilm.

Jane Veeder is an American digital artist, filmmaker and educator. She is a professor at San Francisco State University in the Department of Design and Industry, at which she held the position of chair between 2012 and 2015. Veeder is best known for her pioneering work in early computer graphics, however she has also worked extensively with traditional art forms such as painting, ceramics, theatre, and photography.

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Alex M. Lee (artist) is an American and South Korean artist who lives and works in Phoenix, Arizona. He is assistant professor of animation at Arizona State University's Herberger Institute for Design & Art and faculty affiliate at ASU's Mesa City Media and Immersive eXperience Center (MIX). His work uses 3D animation, game engines and virtual reality to explore temporality, language, perception and human interpretation in our technological society. His work has been presented at the Goethe Institut, SIGGRAPH, Toronto Digifest, anti-utopias amongst other international venues.

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