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New Sculpt: an essay on the work of LaTurbo Avedon by Daniel Rourke

New Sculpt: an essay on the work of LaTurbo Avedon by Daniel Rourke

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Published by Daniel Rourke
New Sculpt is a series of dramatically detailed polygonal 3D structures. The exhibition is the artist’s first solo show, and her first foray into presenting work in offline space. New Sculpt features large format prints and video of her digital sculptural work, which will be accompanied by online performance the night of the opening.

LaTURBO AVEDON is an artist-render who lives and works on the Internet. An avatar whose identity is only connected to online expression, Avedon's work offers a sensibility that is geometric, architectural, and uniquely digital.

An essay by Daniel Rourke has been released in tandem with this exhibition.

Excerpt :::

In the past three decades the term "cyberspace" has come to define a social, rather than a geometric common environment. The term still conjures up images of posthuman projections and vast parallax branes, their cross-hatched surfaces woven at right angles by virtual motorcycles. We hear "cyberspace" and we think of terminals, of cables and an ocean of information, yet the most important means by which cyberspace is produced — namely human social and economic relations — barely registers a flicker. The objects of New Sculpt play between these contradictions.

More info ::: http://laturboavedon.com/
New Sculpt is a series of dramatically detailed polygonal 3D structures. The exhibition is the artist’s first solo show, and her first foray into presenting work in offline space. New Sculpt features large format prints and video of her digital sculptural work, which will be accompanied by online performance the night of the opening.

LaTURBO AVEDON is an artist-render who lives and works on the Internet. An avatar whose identity is only connected to online expression, Avedon's work offers a sensibility that is geometric, architectural, and uniquely digital.

An essay by Daniel Rourke has been released in tandem with this exhibition.

Excerpt :::

In the past three decades the term "cyberspace" has come to define a social, rather than a geometric common environment. The term still conjures up images of posthuman projections and vast parallax branes, their cross-hatched surfaces woven at right angles by virtual motorcycles. We hear "cyberspace" and we think of terminals, of cables and an ocean of information, yet the most important means by which cyberspace is produced — namely human social and economic relations — barely registers a flicker. The objects of New Sculpt play between these contradictions.

More info ::: http://laturboavedon.com/

More info:

Published by: Daniel Rourke on Jul 24, 2013
Copyright:Attribution Non-commercial

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04/30/2014

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NESCULPT
An essAy byDAnIel RouRke
 
polygons are empt
. thi iich hi, hi ufc c dichi. t cid h i u  id  uiccdd  ‘ivd’ c. I hicu d dub c  ff
reliable resistance to the eshy hands
d hd chi f h ci. Bu  u v  i c h gui hd ufc f  i i   f cui hdi whh ubjc d bjccid.
In the past three decades the term ‘cyberspace’ has come to dene a social, rather than a
ic c vi. th  i cju u i f hu jci dv x b, hi c-hchd ufc wv  ih  b viu cc.W h ‘cbc’ d w hik f i, f cb d  c f ifi,  h i  b which cbc i ducd —  hu ci d cic
relations – barely registers a icker. The objects of 
New Sculpt
 bw h cdici.Hvi i hi u/viu vi h c i  h hic quii f cbc vkd i h wk f Wii gib  h cu d dc f 
Tron
 d
Deus Ex
. I h ,  f cx d ud   bjc, h xd hri ahic f nic Buiud d li giick, wh cid    cdii, ci d ih cuiv f f c.
1
To dene LaTurbo Avedon’s
wk  -cbi wud b fciu,  id I ff w  h ‘’ — f hgk f
beside
: paraspatial, pararelational, paraaesthetic. Scott Bukatman, after science ction
wi su D, d ‘c’  ‘ i c wihi  fii c,  bww djc  f c wh  uch “bw” xi.’
2
ltub avd’ ci  ubiiv bjc, h h civ u d u wd, idi u h c i  dich i w d ufii d i qui.
 
I
The Production of Space
, Hi lfbv cidd c    f ibiii cbi dd i ccdc wih iic d ci i:
The starting point here is a knowledge which is at once integrated into, andintegrative with respect to, the mode of production.
3
th cdii f c, h d f i duci, hv bc  id i uivd xic h w b i hi xic. th wk i h
New Sculpt
i b udd  xi f hi iv c, d bui c. a ccdiid b  d f duci h   hv  uch i c wih ‘dii’duci   d  r-gc cuu. a p Wib h ud, i i wiib  cid  xic
beyond
di,
beyond
h dii:
This media experience has become the norm for all aesthetic experience. Hencein art there is no longer anything beyond the media. There is no longer anypainting outside and beyond the media experience. There is no longer anysculpture outside and beyond the media experience.
4

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