In:The Pragmatics of Discourse Coherence: Theories and applications
Edited by Helmut Gruber and Gisela Redeker
[Pragmatics & Beyond New Series 254] 2014
► pp. 179–206
Coherence in multimodal arts installations
Published online: 26 November 2014
https://doi.org/10.1075/pbns.254.07hue
https://doi.org/10.1075/pbns.254.07hue
Multimodal and process-oriented design in digital installation art is pushing
for the resolution of physical, spatial and temporal borders as well as coherent
structures, which may make visitor perception substantially difficult. Hence,
this form of art is well suited for the discussion of the concept of coherence in
terms of applicability and constraints. In order to analyse and discuss coherence
in multimodal and process-oriented design, I have developed a five-layer
framework, based on systemic functional and multimodal theory and capable
of analysing coherence relations in the digital installation art that this paper
will look at.
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Data samples in this paper
Bystander (2005): Ross Gibson and Kate Richards: [Online]: [URL], [visited on 06.08.2012].
Emotional Traffic (e-traffic), (2005): Maurice Benayoun and Jean-Baptiste Barrière, music and software by Jean-Baptiste Barrière, software in co-production with V2 Lab, Birgit Lichtenegger, Artem Baguinsky, Marloes de Valk: [Online]: [URL], [visited on 06.08.2012].
Listening Post (2001): Ben Rubin and Mark Hansen: [Online]: [URL], [visited on 06.08.2012].
Pussy Weevil (2003): Julian Bleecker and Marina Zurkow: [Online]: [URL], [visited on 06.08.2012].
Telematic Dreaming (1992): Paul Sermon: [Online]: [URL], [visited on 06.08.2012].
Tempest (2004): Erich Berger: [Online]:[URL], [visited on 06.08.2012].
The Legible City (1989): Jeffrey Shaw: [Online]: [URL], [visited on 06.08.2012].
The Messenger (1998, new version 2005): Paul De Marinis: [Online]: [URL], [visited on 06.08.2012].
