School Of Creative Media
CityU Hong Kong
Max Hattler is an artist and academic who works with abstract animation, video installation and audio-visual performance. His work explores relationships between abstraction and figuration, aesthetics and politics, sound and image, as well as precision and improvisation. Hattler holds a master’s degree in animation from the Royal College of Art and a Doctorate in Fine Art from the University of East London. He has lectured at RCA, CalArts, Goldsmiths, KASK Ghent, USC, and many more. His work has been shown at festivals and institutions such as Resonate, Ars Electronica, ZKM Center for Art and Media, MOCA Taipei and Beijing Minsheng Museum. Awards include Supernova, Cannes Lions, Bradford Animation Festival and several Visual Music Awards. Max Hattler has performed live around the world, including Playgrounds Festival, Re-New Festival Copenhagen, Expo Milan, Seoul Museum of Art, Sonár Hong Kong, and the European Media Art Festival. He lives in Hong Kong, where he is an Assistant Professor and an ACIM Research Fellow at School of Creative Media, City University of Hong Kong. Hattler’s current research focuses on synaesthetic experience and visual music, the narrative potential of abstract animation, and expanded artistic approaches to binocular vision. For more information, please visit http://www.maxhattler.com
Since the beginnings of stereo-photography, stereoscopic vision has been marginal. However, over the last decade, stereoscopic films have become a de-facto standard for cinematic release. Simultaneously, virtual reality (VR) and augmented reality (AR) technologies have matured and proliferated. In terms of future use, stereoscopy appears poised to become ubiquitous. This newly-emerging stereoscopic status quo operates within the same principles set out at the beginning of the technology. At a physical level, stereoscopy produces 3D depth perception from the stereoscopic fusion of left and right images. Yet, beyond the normative practice of emulating human vision, stereoscopy can be leveraged to offer new perceptions and aesthetics. While phenomena such as binocular rivalry are well researched within cognitive neuroscience and psychophysics, their artistic potential remains largely untapped. Artists such as Salvador Dali, Memo Akten and Sebastian Buerkner are among the few who have explored this territory. We propose the term expanded stereoscopy to describe stereoscopic processes which create spaces where depth relations are disjointed and paradoxical, where binocular rivalry is used to create unique visual effects or to guide viewer attention, or where new dimensionality and visual intensity are excavated from flat source material. Such expanded, technologically- aided uses of stereoscopy allow for ways of seeing that are impossible in the real world and can be seen as a true expansion of the senses. Max Hattler’s artistic research in this area began with the creation of III=III for Post Pixel – Animamix Biennale 2015-16. This stereoscopic 3D animation installation explores different binocular rivalry effects and random-dot stereograms in an attempt to create ‘impossible’ spaces which break and subvert traditional stereoscopic perception. As part of a year-long Research Fellowship at City University of Hong Kong’s Centre for Applied Computing and Interactive Media (ACIM), Hattler’s current research involves elaborating this type of work specifically for immersive stereoscopic environments such as VR headsets and CityU’s Gallery 360 space.
O≠O 2018, VR Experience
Max Hattler’s O≠O is a virtual reality artwork which explores expanded stereoscopic processes and techniques such as binocular rivalry and random-dot stereograms in an attempt to create ‘impossible’ immersive spaces which break and subvert normative depth perception. The work on display is a work in progress.