Rebecca Allen is an international artist inspired by a variety of media to create work from 3-D computer graphics, animation, music videos, video games, performance works, artificial life systems, multisensory interfaces, interactive installations, virtual and mixed reality. Rebecca Allen is an internationally recognized artist, designer, director and technology research pioneer with three decades of experience leading multidisciplinary teams to create highly innovative projects, products and experiences. Her work pushes the boundary of creative expression utilizing cutting-edge technology in areas involving virtual and augmented reality, mobile media design, wearable computing, video games, 3D computer animation, large scale performance, user interface design and experience design. Rebecca has collaborated with music and performing artists such as Kraftwerk, Mark Mothersbaugh (Devo), John Paul Jones (Led Zeppelin), Peter Gabriel, Carter Burwell, Joffrey Ballet and Twyla Tharp. Clients include Huffington Post, Intel, Philips, Mattel, Nintendo, Apple, Time Warner, Island, CBS, NBC, FOX, PBS/Nova, BBC, TVE (Spain), Taejon World Expo, Seville World Expo and DARPA. Her artwork is part of the permanent collection of Centre Georges Pompidou, the Whitney Museum and Museum of Modern Art, NY. Awards include an Emmy for Outstanding Achievement in Design. Fast Company named Allen one of the Most Creative People in Business for 2010. Allen received her BFA at Rhode Island School of Design and her MS from Massachusetts Institute of Technology. She is currently professor and was founding chair of the UCLA Department of Design, Media Arts. She worked at the New York Institute of Technology Computer Graphics Laboratory.
Weibel: “Between TV and viewer there is a function, i.e.: The user switches the device on and off. This function is illustrated and content of the program. A “sandwich”- character of real process and figure process, of reflection and action. In the screen there are viewers seen sitting in front of their TV. In the last picture a disturbance occurs, so that the viewer who watches this scene has to get up, in order to repair the failure. Thus the screen of the next viewer is disturbed. The disturbance reproduces itself, up to the real TV set, so that the real viewer must rise the same way, in order to remove the disturbance. Time delay: The real action is the final point of the reproduced process.”
Groupe de Recherche d’Art Visuel (GRAV) (Research Art Group) was a collaborative artists group in Paris that consisted of eleven artists who picked up on Victor Vasarely's concept that the sole artist was outdated. GRAV was active in Paris from 1960 to 1968. Their main aim was to merge the individual identities of the members into a collective and individually anonymous activity linked to the scientific and technological disciplines based around collective events called Labyrinths. Their ideals enticed them to investigate a wide spectrum of kinetic art and op art optical effects by using various types of artificial light and mechanical movement. In their first Labyrinth, held in 1963 at the Paris Biennale, they presented three years work based on optical and kinetic devices. Thereafter they discovered that their effort to engage the human eye had shifted their concerns towards those of spectator participation; a foreshadow of interactivity. On April 19, 1966 GRAV created Une Journée dans la rue (Day in the Street) in Paris where they invited passing participants to involve themselves in various kinetic activities such as having them walk on uneven blocks of wood and/or experience a distorted world by wearing elaborate distorting spectacles. Their agreed dissolution in November 1968 was based on their recognition that it was impossible to maintain the rigor of a joint program.