Local artists tackle
robotic challenge
By DEIRDRE HANNA
Just imagine something that is not only beautiful but does something
meaningful -- because it knows how to.
The concept of an intelligent sculpture is singularly compelling, so
much so that few art forms carry a sexier cachet than robotics. Yet
robotic art, sadly, is still very much in its infancy.
Anyone who wants a taste of where it might be going can get a major hit
this weekend with the Spaceprobe exhibit of electro-physical art and the
seventh annual Sumo Robot Challenge, which pits mechanized creations
against each other in gladiatorial combat.
Fortuitous links
Spaceprobe is the second show the Toronto-based Art and Robotics Group
(ARG) has put on at Inter/Access in the past six months, while the Sumo
Robot Challenge has become a highlight on OCAD's academic calendar.
Despite the fortuitous timing overlap, the links between the two events
are mostly coincidental. According to artist, teacher and Sumo Robot
Challenge coordinator Norman White, about three-quarters of ARG's members
have passed through various programs at the college.
ARG director Jeff Mann is adamant that his group's creations have
little to do with OCAD's electronic sumo wrestlers.
"There seems to be a culture around robots," Mann says from the midst
of the Spaceprobe installation. "Autonomous carts that zoom around or the
toys that little kids play with tend to be the first things that come to
people's minds.
"That's fine, but this is something else. I founded ARG to bring
together people who want to explore electronics in three-dimensional
spaces.
"To some extent, this work is interactive in that there's control and
feedback, but what this show is really about is process. This is the kind
of work that doesn't go anywhere until you see what actually happens when
you try to put it together, and for the past year ARG has met every
Tuesday evening for workshops."
The workshops tend toward the purely practical, with various members
outlining tools and techniques they've used to make something in
particular work. It's a gritty, hands-on approach that for Mann represents
a reversal in the computerized direction most electronically driven art is
taking.
"When I was at OCA, everyone in my program was working with motors, and
I was trying to get people to write software. Most of what I've done since
then is in the box, using computers, video and sound, but I find that
stuff leaves me cold.
"Dealing with space, not just the virtual, is far more interesting."
Mann's own Spaceprobe offering, Spirit Catcher, is elegant and
deceptively simple. A transparent plastic sheet billows above a
white-housed fan while discrete antennae sense changes in electrical
fields made by the movement of the plastic. These fluctuations are
reflected in changes in the sound emitted by three tinny speakers.
Punning organ
Other highlights include James Ruxton's Heavy Breathing, a device that
amplifies the viewers' breath; Rob Cruickshank and Wendy Whaley's
Transmit/Reflect, featuring a vagina-esque booth that uses a laser to
transmit images of those who enter to a fur-lined viewer; Graham Smith's
reflective, revolving Rain Sphere; and Paul Davies' The Quantification Of
Humans, a sisal mat that shows the relative position of those standing on
it on a tiny neon chart.
Robert Erlich's No Escape roves around like a Jetsons-era robotic cart
while projecting images between Inter/Access and Gallery 1313, in the
heart of Parkdale. Robert Bernecky and Brad Harley take a comical turn
with their Windows Of Opportunity, an off-key, pun-rich organ made from
PVC pipes and rubber flipflops that plays a painful rendering of Mary Had
A Little Lamb.
Other pieces are far less rewarding. Mann reveals his acute awareness
of Spaceprobe's unevenness when he quickly notes that this show is
completely uncurated. A week after the opening, two participants still
haven't completed their installations. Shortcomings aside, however,
Spaceprobe bristles with potential.
And the Sumo Robots are always a blast. As White observes, "It's an art
form that allows for a lot of irony."
NOW MARCH
27-APRIL 2, 1997
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