“Art Post-Internet” was an exhibition curated by Karen Archey and Robin Peckham for the Ullens Center for Contemporary Art in Beijing in spring 2014. This is the specially designed pdf catalogue whose with the front page is created each time with the IP and quite approximated location of the user. It includes tentatively definition of “post-internet” by Cory Arcangel, Simon Denny, and Bunny Rogers, art critics Ben Davis and Paddy Johnson, academics Mark Tribe and Esther Choi, and museum professionals Christiane Paul, Raffael Dörig, Jamillah James, Ben Vickers, Omar Kholeif and Gene McHugh.
Already the artistic avant-garde of the early twentieth century attempted, in reference to science, what we now attempt an architect and a Japanese artist with a technological device much richer: represent € ™ s invisible. Seiko Mikami and Sota Ichikawa are the authors of Gravity and Resistance , an installation project that uses several versions to make manifest the mutual forces existing in a dynamic system. Through basic interactions-with-real-time users, you want to rethink € ™ s gravitational environment in which we are immersed as an interface of our perception. In its latest version, 2.0 gravicells, presented at the DEAF 2004 , sensory devices in the pavement detect the position and weight of one or more users crossing the room, while a GPS device on-site measures the position of the exhibition space and satellites GPS in orbit attached to it. So a software returns all these data as graphs or, more poetically, as movements of sounds, lights (LED) and geometric images that reflect the dynamics in a combined gravitational, positions, movements and changes in speed of participants and satellites. Even in version 1.0 'for anechoic room' gravity is represented in real time-like sound and image. Allâ € ™ inside an anechoic chamber software reworks data relating to changes in position, tilt and weight of the user, as well as the internal sounds of the body, respectively detected by a moveable platform, two cameras and a contact sensor. Lâ € ™ output consists of a bright line that cuts horizontally the walls of the room (and represents the sense € ™ s balance) and a three-dimensional sound space. That € ™ s aesthetic environments-the formal composure who indulges in the spectacular-not distract us from the purpose: if someone in the middle of the rooms described, they will get to rethink the force of gravity nellâ € ™ eternal dialogue between the body and space, then the work will have hit the mark.