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LPDT2 La Plissure du Texte 2

LPDT2 La Plissure du Texte 2

Elif Ayiter, Stefan Glasauer, Max Moswitzer
Copyright: © 2013 |Pages: 16
ISBN13: 9781466629615|ISBN10: 1466629614|EISBN13: 9781466629622
DOI: 10.4018/978-1-4666-2961-5.ch006
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MLA

Ayiter, Elif, et al. "LPDT2 La Plissure du Texte 2." Digital Media and Technologies for Virtual Artistic Spaces, edited by Dew Harrison, IGI Global, 2013, pp. 75-90. https://doi.org/10.4018/978-1-4666-2961-5.ch006

APA

Ayiter, E., Glasauer, S., & Moswitzer, M. (2013). LPDT2 La Plissure du Texte 2. In D. Harrison (Ed.), Digital Media and Technologies for Virtual Artistic Spaces (pp. 75-90). IGI Global. https://doi.org/10.4018/978-1-4666-2961-5.ch006

Chicago

Ayiter, Elif, Stefan Glasauer, and Max Moswitzer. "LPDT2 La Plissure du Texte 2." In Digital Media and Technologies for Virtual Artistic Spaces, edited by Dew Harrison, 75-90. Hershey, PA: IGI Global, 2013. https://doi.org/10.4018/978-1-4666-2961-5.ch006

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Abstract

This chapter will discuss the artistic processes involved in the creation of the three dimensional, virtual art installation La Plissure du Texte 2, which is the sequel to Roy Ascott’s ground breaking telematically networked art work La Plissure du Texte, created in 1983 and shown in Paris at the Musée de l’Art Moderne de la Ville de Paris during that same year. While the underlying concepts of the original art work, as well as its capability of regenerating itself as an entirely novel manifestation based upon the concepts of distributed authorship, textual mobility, emergent semiosis, multiple identity, and participatory poesis will be underlined, the main focus of the text will be upon the creative strategies as well as the technological means through which the architecture was brought about in the contemporary creative environment of the metaverse. A further topic that will be covered is the challenge of exhibiting what is after all an art work that requires full virtual immersion to bring about a deep level experience and understanding of it, in the physical world, i.e. ‘Real Life’4—in a gallery or museum space in which such a virtual immersion cannot be readily obtained.

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