Hypermapping Conflict: War, Art and Immersive Aesthetics
- Submitting institution
-
Coventry University
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 38015665
- Type
- D - Journal article
- DOI
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10.1080/14434318.2020.1764228
- Title of journal
- Australian and New Zealand Journal of Art
- Article number
- -
- First page
- 40
- Volume
- 20
- Issue
- 1
- ISSN
- 1443-4318
- Open access status
- Deposit exception
- Month of publication
- August
- Year of publication
- 2020
- URL
-
-
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- Yes
- Number of additional authors
-
0
- Research group(s)
-
-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This peer-reviewed article, which theorised practice-based research conducted in one of the world’s leading immersive visualisation laboratories, was published in Oceania’s principle art journal. It examined the ways in which new media artists employ the aesthetics of immersive visualisations, commonly employed in the industries of war, to not only produce new understanding of wartime experiences, but to leverage the technologies of war in order to interrogate the operations of military-industrial networks.
This research followed an interdisciplinary process that combined traditional archival research, art historical theorization, computer arts and immersive systems engineering to produce a fully immersive digital, interactive environment for public exhibition, whose impact in the fields of museology, art history and immersive aesthetics was theorized. Titled Metascape: Villers Bretonneux 2019, a spatio-temporal map of emotions was produced that was derived from textual records of participants in the First World War battle of Villers Bretonneux which were parsed using sentiment analysis.
These aesthetic advances were contextualized in this article against other contemporary approaches to visualizing conflict to address the affective and ethical problems associated with datafying and visualising war. In doing so it advanced understanding of the signal role war art plays in creating and transmitting public memories of conflict.
Interest in this research is evidenced by the exhibition of the practice led component by invitation at SIGGRAPH ASIA, the Asian-Pacific iteration of the world’s leading forum for computer arts and sciences, which included the delivery of a paper on the theoretical advances of the project. Subsequently Yip was invited to be a member of the organizing committee of SIGGRAPH ASIA 2023. The project was supported by a Faculty Research Grant ($10,000) from UNSW as well as a Research Fellowship at the iCinema Centre for Interactive Cinema Research, contributing an in-kind value of $24,000 in access to visualization hardware.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -