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The Art of Science Fiction Invades Reality

Dannielle Thorman
Write About Art 4
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Everything is becoming science fiction. From the margins of an almost invisible literature has sprung the intact reality of the 20th century.
(J.G. Ballard1)
What used to be seen as pure science fiction has become stark reality. Defined by acclaimed American author Ray Bradbury, science fiction is ‘any idea that occurs in the head and doesn’t exist yet, but soon will, and will change everything for everybody, and nothing will ever be the same again’.2 However, due to scientific knowledge advancing exponentially, the margin between science fiction and fact has blurred irreversibly. From wheelchairs that operate using human thoughts3 to the normalisation of human medical cyborgs,4 one field has bled into the other, creating a fusion of casual life and scientific innovations. Thus, it appears as though every fibre of the contemporary human psyche is, to some extent, influenced by science fiction. Unsurprisingly, this influence extends towards the creation of contemporary art, as seen in two works in the National New Media Art Award 2012, exhibited at Brisbane’s Gallery of Modern Art.
Zwischenräume (2010-11), a collaboration between Petra Gemeinboeck and Rob Saunders, is a visual insight into the relationship between science fiction and everyday life. The installation consists of a series of artificial intelligence (AI) robots confined behind a wall, programmed to ‘feel’ boredom.5 To alleviate their ennui, the robots interact with their environment. Using a chisel mechanism to create large holes in the wall that separates them from the viewer, they strive to map and learn about their surroundings. Equipped with camera vision they observe the audience through holes they have purposefully created. The robots possess the capability to learn, react to external stimuli, change and map their immediate... The rest of this article is available to subscribers of Eyeline

Ian Haig, Some Thing, 2011. Robotics, electronics, latex. Production and fabrication: Fiona Edwards; robotics and electronics: Martin James; sound: PH2 (Philip Brophy and Philip Samartzis), 40 x 40 x 120cm (irreg.). Funded with the assistance of the Australia Council Inter-Arts Office 2011.

Ian Haig, Some Thing, 2011. Robotics, electronics, latex. Production and fabrication: Fiona Edwards; robotics and electronics: Martin James; sound: PH2 (Philip Brophy and Philip Samartzis), 40 x 40 x 120cm (irreg.). Funded with the assistance of the Australia Council Inter-Arts Office 2011.