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Analysing computer-related works of art: methodological and theoretical considerations
Salah Uddin Ahmed
Trial Lecture
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Analysing the topic
Analysing computer-related works of art: methodological and theoretical
considerations– Analyse (what?)
• Computer related works of art (CRWA)– Methodological considerations– Theoretical considerations
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Outline• Introduction of CRWA• Interpretations• Aspects of Analysis• Interpretation 1• Analysing Traditional Artwork• Analysing CRWA• Interpretation 2• Analyses on Interactivity• Theoretical, Methodological Consideration• Conclusion
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What is Computer Related Work of Art
Is it Computer Generated Art?Is it Digital Art?Is it Multimedia Art?
Any kind of Art in which computers play a role in production or display of the artwork
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History• First three exhibitions
– Generative Computergrafik, February 1965, Germany– Computer-Generated Pictures, April 1965, New York,
USA– Computer- Grafik Programme, November 1965,
Germany
• Earliest digital computer artists– A. Michael Noll, Bell Labs, USA– Frieder Nake, Professor of computer graphics,
Bremen, Germany– Georg Nees, programmer, Siemens, Germany
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History
• History of Digital Fine Art– The Pioneers Era (1956 – )– The Paintbox Era (1986 – )– Multimedia Era (1996 – )
http://www.dam.org/home
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Nr 7 by Frieder Nake, 1965
Computer Generated Patterns by Michael Noll, 1964
Cubic Disarray, Georg Nees (1968 -1971)
Pioneers Era
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CRWAAlgorithm art ASCII art Computer art scene Computer art Computer graphics Computer music Demoscene Digital illustration Digital morphogenesis Digital painting Digital artDigital fine art Tradigital art Evolutionary art Fax art Fractal art
Generative art Generative music Image development Interactive art Internet artKisekae Set System Motion graphics New media artNet art Multimedia Music visualization Software art Systems art Video gameWeb art
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Outline• Introduction of CRWA• Interpretations• Aspects of Analysis• Interpretation 1• Analysing Traditional Artwork• Analysing CRWA• Interpretation 2• Analyses on Interactivity• Theoretical, Methodological Consideration• Conclusion
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Topic
• Analysing computer-related works of art: methodological and theoretical considerations
Analyse
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What does Analyse Mean
• To separate or distinguish the component parts of something (as a substance, a process, a situation) so as to discover its true nature or inner relationships
• To divide a complex whole into its parts or elements.
Merriam webster dictionary
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Two Interpretations
1. How do we analyse a computer related work of art (CRWA as an unit)?
– Take one artwork and analyse it
Artwork Processinginput output
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Two Interpretations
2. How do we analyse computer related works of art, i.e., all artworks related to computer?
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Outline• Introduction of CRWA• Interpretations• Aspects of Analysis• Interpretation 1• Analysing Traditional Artwork• Analysing CRWA• Interpretation 2• Analyses on Interactivity• Theoretical, Methodological Consideration• Conclusion
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Aspects of Analysis - CRWA
– How it is build– Who the audience is– Interaction with audience– Artistic Concern– Copyright/Authorship– Lifecycle of artwork– Preserving/ Archiving– Distribution
FocusMethodological and
Theoretical
Considerations
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Outline• Introduction of CRWA• Interpretations• Aspects of Analysis• Interpretation 1• Analysing Traditional Artwork• Analysing CRWA• Interpretation 2• Analyses on Interactivity• Theoretical, Methodological Consideration• Conclusion
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Interpretation
1. How do we analyse a computer related work of art? CRWA as an unit
2. How do we analyse computer related works, i.e., all artworks related to computer?
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How do we Build CRWANew Media Artwork has Four Stages• Artwork design
– define the message & content, gathering, studying, clarifying ideas.
• Media acquisition & production– production, annotation and storage of the media artefacts
• Artwork production– building artwork through combination of different media artefacts
• Artwork exhibition– meet spectators via installation, web application or interactive
DVD
(Kerherve et al. 2005) (Kerherve et al. 2008)
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Analysing an Artwork through Conceptual Framework
• Artist• Artwork• Audience• The World
(Charman, Ross 2004)http://www.erskineparkhs.com.au/
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Analysing an Artwork through Conceptual Framework
ARTIST• Who is the Artist?• When, Where, How does the artist work?• What are artist’s messages in the artwork?• What materials and processes has the artist selected to
convey these messages?• What are the artist’s intentions? • What signs & symbols in the artwork display the artist’s
beliefs / identity.• What art movement/style is the artist associated with?
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Analysing an Artwork through Conceptual Framework
ARTWORK• What is it? (painting, sculpture, drawing etc.)
• What is it about? (artwork’s nature, explanation, message)
• Formal qualities (colour, line, texture, tone, composition)
• Mood of the artwork
• Who / what has influenced?
• Function (Historical record, personal, propaganda, decoration, religious message, social or political comment, entertainment…)
http://www.erskineparkhs.com.au/
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Analysing an Artwork through Conceptual Framework
AUDIENCE• Who is the intended audience? • How has the artist considered the audience?• How does the artwork make the audience feel?• What styles/ other artworks might the audience recall?• How does the audience identify with the work?• Where might an audience see this work?
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Analysing an Artwork through Conceptual Framework
THE WORLD• Does it represent artist's own personal world? or
physical world?• Does it reflect world at the time artwork was made?• Does artwork represent a particular event, class, race,
religion, place, culture, environment?• Was artist influenced by world events? Environment? eg:
television &media, technology• Past artworks as inspiration or subject matter?
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Outline• Introduction of CRWA• Interpretations• Aspects of Analysis• Interpretation 1• Analysing Traditional Artwork• Analysing CRWA• Interpretation 2• Analyses on Interactivity• Theoretical, Methodological Consideration• Conclusion
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Analysing a CR Artwork• Artist
– Who, what type, what movement?
• Artwork– Subject matter – What is it made of– What tools– What is the
input/processing/output– Functionalities of the artwork– The mood, the statement artist
makes– Analysis of content/elements
•Audience– Intended audience–What feelings/ how they identify the work–Interaction–Where/How see
•World/Environment–How the artwork is influenced by world
(Ryn Gargulinski 2011) (Charman, Ross 2004)
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Outline• Introduction of CRWA• Interpretations• Aspects of Analysis• Interpretation 1• Analysing Traditional Artwork• Analysing CRWA• Interpretation 2• Analyses on Interactivity• Theoretical, Methodological Consideration• Conclusion
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Interpretation
1. How do we analyse a computer related work of art? CRWA as an unit
2. How do we analyse computer related works, i.e., all artworks related to computer?
• How do we define/distinguish, relate each other?
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CRWAAlgorithm art ASCII art Computer art scene Computer art Computer graphics Computer music Cyber artDemoscene Digital illustration Digital morphogenesis Digital painting Digital artDigital fine art Tradigital art Evolutionary art Fax art
Fractal artGenerative art Generative music Image development Interactive art Internet artKisekae Set System Motion graphics New media artNet art Multimedia Music visualization Software art Systems art Video gameWeb art
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Categories
(Warnell 99)
• Cyber art– Any art created by computer software or hardware– Even a natural media work become cyberart by virtue of the fact
they are placed into the cyber stream
Picasso, Three musician
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Categories
• Web Art– Concerned with one or more features of Web– Web art works require Web media to function
• Net.art– Concerned primarily with the Internet as a whole– Secondarily with the Web
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Categories
New Media Art“Projects that make use of emerging media
technologies and are concerned with the cultural, political, and aesthetic possibilities of these tools”
Tribe, M., Jana, R.: New Media Art. Taschen
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Categories
• Blurred lines, Overlapping, hard to categorise
• Challenges– Technology changes– Ephemeral and non persistent nature– What is correct today, may not be correct tomorrow
• “Relax -- call it what you will -- it is all New Media Art”
(Warnell 1999)
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CRWAAlgorithm art ASCII art Computer art scene Computer art Computer graphics Computer music Cyber artDemoscene Digital illustration Digital morphogenesis Digital painting Digital artDigital fine art Tradigital art Evolutionary art Fax art
Fractal artGenerative art Generative music Image development Interactive art Internet artKisekae Set System Motion graphics New media artNet art Multimedia Music visualization Software art Systems art Video gameWeb art
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Outline• Introduction of CRWA• Interpretations• Aspects of Analysis• Interpretation 1• Analysing Traditional Artwork• Analysing CRWA• Interpretation 2• Analyses on Interactivity• Theoretical, Methodological Consideration• Conclusion
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CRWA-Interactivity
RegistrationalConsultationalTransmissionalJensen
DynamicInteractiveVarying
DynamicInteractive
Dynamic-Passive
Static Edmonds
EvolutionaryPre-designedSommerer
AdaptiveInteractivePassiveHannington
Level 3Level 2Level 1Level 0 Level ofInteractivity
(Edmonds et. El 2004) (Hannington, Reed 2002 ) (Sommerer 1999 )(Jensen 1998)
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Interactive Artwork
static dynamic
passive
interactive
varying
Dynamic- passivestatic
Dynamic- interactive
Dynamic- interactivevarying
x
y
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CRWA-Interactivity
RegistrationalConsultationalTransmissionalJensen
DynamicInteractiveVarying
DynamicInteractive
Dynamic-Passive
Static Edmonds
EvolutionaryPre-designedSommerer
AdaptiveInteractivePassiveHannington
Level 3Level 2Level 1Level 0 Level ofInteractivity
(Edmonds et. El 2004) (Hannington, Reed 2002 ) (Sommerer 1999 )(Jensen 1998)
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Outline• Introduction of CRWA• Interpretations• Aspects of Analysis• Interpretation 1• Analysing Traditional Artwork• Analysing CRWA• Interpretation 2• Analyses on Interactivity• Theoretical, Methodological Consideration• Conclusion
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Methodological and Theoretical Considerations
• Who is the author/artist• Computer as an artist• Who owns copyright• Audience and User engagement
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Author
• New media art can contain various components, artefacts
• In case of computer related works, who is the author?
• User interaction makes the scenario complex– Artist– Computer– User-artist derivative
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Author
“Almost all novels are now written on a computer, but that does not make them computer art.”
“Computer art is art that is made by computer and is also artistically distinctive in some way.”
• Where the system is not only a mere tool • Where the system is actually responsible for the
work
(Gaute 2009) (Dreier 1993 )
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Copyright
• Authorship of computer-created works can be identified as– Programmer– User— Programmer joint work Or derivative
work– Computer
• For an artwork– Artist, programmer, user, computer
(Evan Farr 1989)
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Computer as an Artist
• Aesthetic appreciation might have an underlying mathematical explanation
• Computers can follow a particular artist’s style– Formulating a set of generative rules– A. Michael Noll's computer generated art following
'Mondrians'
(Wright 1998)
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Computer as an Artist
• Through his artificially intelligent program AARON, Harold Cohen managed to simulate the pictorial forms of his earlier painting style.
• The difference between behavioural approach of making art by computer and an artist is – Philosophy of intentionality– In case of computer, how art is produced rather than
why– Why an artist have chosen a style is not relevant
(Wright 1998)
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Audience• Profiles of its target audience and non-audience
are not currently described within the literature• Personal experience in place of museum type
experience• User Engagement• Interaction with (Interactive) art
– Enhanced learning, interactivity, persuasive effects
• Methods for measuring user experience– User Identity and User Satisfaction– Controlled experiments, surveys
(Berman 2005) (Stephen et el 2008)
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Audience Engagement
• How much of ourselves would we see reflected in an 'autonomous' computer's art? Would we feel sympathy with it or alienation?
• Can it be a means of gaining self-knowledge and self identity.
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Outline• Introduction of CRWA• Interpretations• Aspects of Analysis• Interpretation 1• Analysing Traditional Artwork• Analysing CRWA• Interpretation 2• Analyses on Interactivity• Theoretical, Methodological Consideration• Conclusion
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Conclusion
• Analysing CRWA has many challenges– CRWA has many aspects – Overlapping features– Ephemeral and non persistent nature– New area, lack of established knowledge– Contribution from many authors/artefacts
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ReferencesEvan H Farr (1989), Copyrightability of Computer-created works, Rutgers Computer &
Tech. L.J. 63. Pitts (1986), Allocating ownership rights in computer-generated works, University of
Pittsburgh Law Review. Vol. 47:1131. 1986. pp. 1185-1228. Berman (2005) CHINDigitalArtAudiencesLiteratureReviewandMethodology
http://www.davidberman.com/Birgitte Kerherve, Olivier Gerbe, Paul Landon (2008), Process modeling for new media
artworks, Multimedia Systems, 14:6 Brigitte Kerherve, Anis Ouali, and Paul Landon (2005). Design and production of new
media artworks. In Proceedings of the ACM workshop on Multimedia for human communication: from capture to convey (MHC '05). ACM, New York, NY, USA, 11-16.
Ernest Edmonds, Greg Turner, and Linda Candy (2004). Approaches to interactive art systems. In Proceedings of the 2nd international conference on Computer graphics and interactive techniques in Australasia and South East Asia (GRAPHITE '04), Stephen N. Spencer (Ed.). ACM, New York, NY, USA, 113-117.
Dreier, Thomas (1993). The international development of copyright protection for computer programs. A handbook of European Software Law. Edited by M. Lehmann & C.F. Tapper. Clarendon Press. Oxford. 1993. p. 236/237
Gaute,B. (2009). Computer Art. http://www.aestheticsonline.org/articles/index.php?articles_id=43
Tribe, M., Jana, R.: New Media Art. Taschen
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ReferencesRyn Gargulinski (2011), how to analyze artwork,
http://www.ehow.com/how_2337757_analyze-artwork.htmlHelen Charman, Michaela Ross (2004a) Ways of looking, Tate Modern teachers Kit,
Tate online research journalHelen Charman, Michaela Ross, (2004b), Contemporary art and role of interpretation,
Tate online research journalHannington, A. and K. Reed (2002). Towards a taxonomy for guiding multimedia
application development. Ninth Asia-Pacific Software Engineering Conference (APSEC'02), Gold Coast, Queensland, AUSTRALIA.
Jensen, J. F. I. (1998). "Interactivity:Tracking a new concept in media and communication studies." Nordicom Review 19.
Lopes, Dominic McIver (2010). A Philosophy of Computer Art. London: Routledge. Merriam webster dictionary, http://www.merriam-webster.com/Stephen W. Gilroy, Marc Cavazza, Remi Chaignon, Satu-Marja Makela;, Markus
Niranen, Elisabeth Andre, Thurid Vogt, Jerome Urbain, Hartmut Seichter, Mark Billinghurst, and Maurice Benayoun. (2008). An affective model of user experience for interactive art, In Proceedings of the 2008 International Conference on Advances in Computer Entertainment Technology (ACE '08).
Sommerer, C. and L. Mignonneau (1999). "Art as a Living System: Interactive Computer Artworks." Leonardo 32(3): 165-173.
Warnell,Ted (1999), New Media Art, Journal of new media experimental visual literary theory practice http://www.warnell.com/zinen/library/zn990219.htm
Wright, Richard, (1998) Some issues in the development of computer art as a mathematical art form Leonardo Vol 1