A mixture of both old and new, hybrid techniques that combine characteristics of painting, drawing, computer animation, landscape data and immersive virtual reality.
Light Years: Jurassic Coast is a three dimensional temporal arena of a UNESCO world heritage site. A mixture of both old and new, hybrid techniques that combine characteristics of painting, drawing, computer animation, landscape data and immersive virtual reality. Inside this virtual space is a topographical landscape of the Jurassic Coast in three dimensions. Light Years Projects use technology normally associated with computer games in creative and innovative ways. Art works such as Light Years: Jurrasic Coast can be transmitted in scaleable formats to allow the work to be viewed on a mobile device, plasma panel, stadium sized screen or experienced in remote locations with a portable projector.
Light Years projects maintain a dual purpose. The first objective is to utilise the convergence and combination of different technologies to produce visually and intellectually challenging artworks. The second aim is to extend common notions of narrative, place and identity using cutting edge digital media.
Technically speaking, the hardware behind Light Years: Jurassic Coast consists of a fast personal computer with a powerful graphics card that is capable of rendering life-like images in real-time. This configuration of equipment is similar to what people use at home to play high-end action and adventure computer games, but the artistic intention and images displayed are diametrically different. The projection of images is through an HD projector and a brightness of 5,000 lumens, which is more than enough light for a 10-metre projection. The interaction between viewer and installation sees the spectator being transported through space and time in a random manner and the atmospheric sounds are delivered through a surround sound system.
As a result of the diverse audience response to Purbeck Light Years our reaction has been to see Light Years: Jurassic Coast as part of the ongoing Art and Technology debate. This debate will continue and will always cause contention. There will always be those who maintain that art is, by definition, unique. Equally there will be those who proclaim the death of painting at the hands of some new medium, process or procedure. Neither belief is a realistic one to adopt. What seems certain is that electronic technologies will continue to penetrate every level of our culture, from production to distribution, and that new technologies will call forth responses from artists ready to use them.