Abstract
The representation of landscape has changed considerably in the arts since the nineteenth century. From the grand and sometimes fantastical paintings of the apocalyptic sublime, to the more topographically correct contemplative sublime; from the concern for light over form in impressionism, to the intensity of colour saturation in post-impressionism; from emotive expressionism to the fractured abstraction of cubism; from its evaporation in abstract expressionism and dematerialisation in conceptual art to its reclamation in walking art; from photographs taken on journeys, to objects found along the way; from words that capture a sense of place, to films that immerse us in those places; from room sized panoramas to virtual reality CAVEs. This paper aims to map out a contemporary typology of landscape representation. Specifically, it attempts to locate self-tracking data art as a new form of landscape representation, one that traverses a spectrum of imagery, from isomorphic representations of real places, through objective mapping of experience and on into the realm of abstracted subjectivity. In doing so it positions the author’s own work within this wider context along side other artists that are engaged is similar practices.
| Original language | English |
|---|---|
| Pages (from-to) | 160-176 |
| Number of pages | 17 |
| Journal | Journal of Visual Art Practice |
| Volume | 18, |
| Issue number | 2 |
| Early online date | 23 Apr 2019 |
| DOIs | |
| Publication status | Published - Jun 2019 |
Fingerprint
Keywords
- Landscape
- data art
- self-tracking
Cite this
}
Self-Tracking Cycling Data as Representations of Landscape. / O'Neill, Shaleph.
In: Journal of Visual Art Practice, Vol. 18, No. 2, 06.2019, p. 160-176.Research output: Contribution to journal › Article
TY - JOUR
T1 - Self-Tracking Cycling Data as Representations of Landscape
AU - O'Neill, Shaleph
PY - 2019/6
Y1 - 2019/6
N2 - The representation of landscape has changed considerably in the arts since the nineteenth century. From the grand and sometimes fantastical paintings of the apocalyptic sublime, to the more topographically correct contemplative sublime; from the concern for light over form in impressionism, to the intensity of colour saturation in post-impressionism; from emotive expressionism to the fractured abstraction of cubism; from its evaporation in abstract expressionism and dematerialisation in conceptual art to its reclamation in walking art; from photographs taken on journeys, to objects found along the way; from words that capture a sense of place, to films that immerse us in those places; from room sized panoramas to virtual reality CAVEs. This paper aims to map out a contemporary typology of landscape representation. Specifically, it attempts to locate self-tracking data art as a new form of landscape representation, one that traverses a spectrum of imagery, from isomorphic representations of real places, through objective mapping of experience and on into the realm of abstracted subjectivity. In doing so it positions the author’s own work within this wider context along side other artists that are engaged is similar practices.
AB - The representation of landscape has changed considerably in the arts since the nineteenth century. From the grand and sometimes fantastical paintings of the apocalyptic sublime, to the more topographically correct contemplative sublime; from the concern for light over form in impressionism, to the intensity of colour saturation in post-impressionism; from emotive expressionism to the fractured abstraction of cubism; from its evaporation in abstract expressionism and dematerialisation in conceptual art to its reclamation in walking art; from photographs taken on journeys, to objects found along the way; from words that capture a sense of place, to films that immerse us in those places; from room sized panoramas to virtual reality CAVEs. This paper aims to map out a contemporary typology of landscape representation. Specifically, it attempts to locate self-tracking data art as a new form of landscape representation, one that traverses a spectrum of imagery, from isomorphic representations of real places, through objective mapping of experience and on into the realm of abstracted subjectivity. In doing so it positions the author’s own work within this wider context along side other artists that are engaged is similar practices.
KW - Landscape
KW - data art
KW - self-tracking
UR - http://www.scopus.com/inward/record.url?scp=85064839931&partnerID=8YFLogxK
UR - https://discovery.dundee.ac.uk/en/publications/753350cb-94b3-4cfa-a2dd-e63876b65e7b
U2 - 10.1080/14702029.2019.1587667
DO - 10.1080/14702029.2019.1587667
M3 - Article
VL - 18,
SP - 160
EP - 176
JO - Journal of Visual Art Practice
JF - Journal of Visual Art Practice
SN - 1470-2029
IS - 2
ER -