Installation Art
In Cooper’s 1999 art installation “Remote Control”, a television displays an anchorman that looks and sounds real, yet is completely computer-generated. The newscast being shown is generated in real-time, using live feeds from various Internet news sources. A remote control with two buttons, labeled “Truth 1” and “Truth 2”, allows the viewer to choose between two channels: one where the news being reported is true, and one where the facts have been reversed.
In “Reflection” (2002) (also known as “Parasight”), the viewer stands in front of a wall that has an image of another person, standing in a similar way as them, projected onto it. When the viewer moves in any way, the image projected on the screen changes to match the new way that the viewer is standing. The result is that the viewer sees their “reflection” on the screen, except that the reflection is in fact the image of a previous visitor. In addition, every viewer is also filmed and added to the database of images that can be projected. In this way, every new viewer adds to the exhibit, and increases the accuracy of the next viewer's reflection.
In “Echo” (2009), Cooper designed what was to be an heirloom that steadily acquires sounds in its environment, and plays them back years in the future - at the same yearly time and date they were recorded. Sounds that it absorbs may possibly be echoed back many times in the future, at the same exact time of day and day of year that they were originally recorded.
Both works “Feed” (2006) and “Life Support” (2009) examine ways in which art literally survives according human presence.
Read more about this topic: Shane Cooper (artist)
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“War was return of earth to ugly earth,
War was foundering of sublimities,
Extinction of each happy art and faith
By which the world had still kept head in air.”
—Robert Graves (1895–1985)