1. Define the 17th century 'Scientific Revolution', and say how it changed European thought and world view.
Of all the changes that swept over Europe in the seventeenth and eighteenth centuries, the most widely influential was an epistemological transformation that we call the “scientific revolution”. It was a series of changes in the structure of European thought itself: systematic doubt, empirical and sensory verification, the abstraction of human knowledge into separate sciences, and the view that the world functions like a machine. The scientific revolution which resulted in new systems of understanding the physical world.
2. Give examples of how we can we still see evidence of the 'Scientific Revolution' in the world today.
Nowadays, computer science, Artificial Intelligence, nano technology, systems bioscience etc. are the latest scientific revolution. We can see it from Damiem Hirst’s art works. His creative company based in the London studios of Science. (Self, 2007, p.10)
In The Savage Mind Levi-Strauss says of magical thinking that: 'Like a shadow moving ahead of its owner it is in a sense complete in itself, and as finished and coherent in its immateriality as the substantial being which it precedes.' That substantial being, being science, or in Hirst's case: Science. (Self, 2007, p.13)
Research Pipilotti Rist's video installations to answer the following:
3. From your research, do you think that the contemporary art world values art work that uses new media/technology over traditional media?
Though the art works which use new media or technology bring us new ideas and visual impact, I still like the traditional media. The fresco or painting on the wood panel can show the beauty of manpower.
4. How has Pipilotti Rist used new media/technology to enhance the audience's experience of her work.
Pipilotti has used a digital movie which has is being projected by 2 projectors onto the corner of 2 walls. If the viewer is standing in the same position as the camera, the picture on the right hand side appears to get larger. She has also used sound, which adds to the excitement. The majority of people viewing her work will feel a sense of fear when they hear the car window being smashed.
5. Comment on how the installation, sound and scale of 'Ever is Over All' (1997) could impact on the audience's experience of the work.
The installation was well thought out, how it was projected into the corner of 2 walls. The sound was interesting. It starts off with the woman walking down the street with a flower stick as peaceful music plays, with the sound of birds. Then all of a sudden you are shocked into the sound of a window being smashed. The music stops briefly and you have a sense off panic. Then the piano continues playing and she walks and smashes another window. You then see her with a smile on her face and start to wonder what this is all about. The scale is a good size, not to big, not to small.
6. Comment on the notion of 'reason' within the content of the video. Is the woman's behaviour reasonable or unreasonable?
I feel the woman’s behaviour is unreasonable. I think she has had a fight with a man and she is angry at all men, because cars are generally associated with men. On the other hand, she looks so peaceful walking along with a beautiful dress, big smile and a flower in one hand as she smashes the car windows. What surprises me is the police woman when smiles at her after watching her smash the car windows. Does this mean woman are taking over the world?
7. Comment on your 'reading' (understanding) of the work by discussion the aesthetic (look), experience and the ideologies (ideas, theories) of the work.
Overall I think it is a very powerful statement. The video is positioned well in the room and is the correct size. Does this video symbolize the relationship between a man and a woman and the continuous battle for power? In this occasion, I feel the woman has the power however there are no men in the movie. Is this because they have all parked their cars and are at work making money for the woman?
Reference:
Self, W., Fuchs, R., Obrist, H. U. & Hirst, D. (2008). Beyond Belief: Damien Hirst. London
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