asp new media art 2
DESCRIPTION
Be sure to explore all of the links...perhaps leading to new discoveries.TRANSCRIPT
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THIS WEEK’S LINKS:
• WhitneyBiennial
• h,p://www.newyorker.com/online/mul8media/2010/03/08/100308_audioslideshow_whitneybiennial
• TEDx• h,p://www.streamonline.pl/transmisja‐tedx‐warsaw‐wyklady‐zapis/
• TheSoundofJupiter(amazing!)
• h,p://www.youtube.com/watch?v=e3fqE01YYWs
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NEW MEDIA ART
ASP American Art and Visual Culture Dr. Lori Kent Spring 2010
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1950 – Engineering Research Associates built the ERA 1101, the first commercially produced computer.
1954 –Computer music performance at MoMA by the computer music center at Columbia University.
1964 – Marshall McLuhan publishes “Understanding Media”
1967 – Sony releases the PortaPak, the first portable video camera
1970 – The exhibition “Software” at the Jewish Museum, NYC, treats computer programming as a metaphor for conceptual art.
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TOOLS
Hardware and software…
servers, routers, PCs, database applications, video and computer games, wireless phones, surveillance cameras, GPS, social networks, etc.
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Vibeke Sorensen wrote in 1995
• First of all, there are qualities unique to digital media. They include memory, computational prowess, high bandwidth data transfer, and high speed data transformation. It affects most fields of science, commerce, engineering, entertainment, and art. Being digital, they share a common structure and language, and are part of a continuum rather than completely separate entities. The most popular means for traversing this continuum is the Internet, particularly the data dissemination structure referred to as the World Wide Web.
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Theolddayswerenotsolongago!
• h,p://www.youtube.com/watch?v=3dZRNBmxm_E
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NEW MEDIA PRECEDENTS
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Who led the way?
Dada, Duchamp, Warhol, Marshall McLuhan, Lichtenstein, Joan Jonas, William Wegman, Bill Viola, Vito Acconci, Bruce Nauman, Naim June Paik, and many more….
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What do computers do well?
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Combine?
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HannahHoch
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h,p://www.sepiatown.com/
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Copy?
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AndyWarhol
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SherrieLevine“A\erWalkerEvans”(1981)
TheoriginalisbyWalkerEvans”HaleCountyAlabama”(1936)
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Spread Data?
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Yourblog?
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Focus on Idea?
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MeirleLadermanUkelesh,p://freshkillspark.wordpress.com/2009/01/
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MarkNapierh,p://www.potatoland.org/landfill/
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h,p://obadike.tripod.com/ebay.html
Mendi+KeithObadike
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Experiment?
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ManRay
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h,p://www.etsy.com/shop/mumbreeze
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Backtolastweek…YourmillionzlotyonETSY.com?
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$4,323.45USD
12335.21pln
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Mumbleboy h,p://www.youtube.com/watch?v=4mvE‐Lgeke0&feature=PlayList&p=75F72B4DC91864D9&index=7
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Collaborate?
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h,p://www.youtube.com/watch?v=WKmb2S5Lt8Y&feature=PlayList&p=75F72B4DC91864D9&index=0
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DouglasDavish,p://artport.whitney.org/collec8on/davis/
In1995,theWhitneyMuseumacquireditsfirstworkofInternetart,DouglasDavis'TheWorld'sFirstCollabora8veSentence.CommissionedbytheLehmanCollegeArtGallery,Bronx,NewYork,inconjunc8onwith"Interac8ons,"its1994surveyexhibi8onofthear8st'swork,SentenceisanongoingtextualandgraphicperformanceontheWorldWideWebthatisownedbytheWhitneyMuseumbutwasmaintainedontheLehmanwebsitefrom1994‐2005.TheworkwasgenerouslydonatedtotheWhitneybyBarbaraSchwartzinhonorofEugeneM.Schwartz,herlatehusband,whotogetherhadpurchasedtheconceptandasigneddiskwithrecordingsofthefirstdaysoftheSentence.Visitorstothesitemayaddtheirowncontribu8onstotheSentence‐‐therearemorethan200,000todate,separatedintotwenty‐one"chapters,"indozensoflanguagesandwitharemarkablerangeofimagesandgraphics.Anysubjectmaybeaddressed,butnocontribu8oncanendwithaperiod,astheSentenceisinfinitelyexpanding.
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Participation?
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CtheoryMul8media–dynamicpoetry–“Crosspurposes”h,p://ctheorymul8media.cornell.edu/issue1/menu2.html
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StanisławaDrożdżaatCSWWarszawah,p://www.youtube.com/watch?v=dtm9mlnPWGE
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h,p://www.youtube.com/watch?v=gbyy5vSg8w8
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“MyBoyfriendCamebackfromtheWar.”
OliaLialina'smyboyfriendcamebackfromthewarcapturestheflavorofacomplexandpersonalsitua8oninapresencethatrevealsan8cipa8on,anxiety,hopes,mixedmessages,andpersonalitytransforma8on,inwhatappearsasamixtureofsaidandunsaidexpressions.Thenaviga8onschemepresentsopportuni8estopursuemul8ple,intersec8ngthreads,crea8ngawebofpossibleinternalandexternalconversa8onsthatbecomerealizedinthesitevisitors'approachtotheenvironment
Thear8stestablishesagracefulcombina8onofimage,wordandflow.Onevisualregionpresentsanon‐changingpresenceillustra8ngtheboyfriend'spresence.Therestofthevisualrealmisdividedintomul8plesta8cframeswithinwhichthepar8cipantinteractstoilluminateconversa8onelements.Thisworkhasaperforma8vecharacter,andIfoundmyself"playing"theframesinacombina8onandspeedthatmatchedmyownpercep8onandinterest.Abuilt‐indisappearanceofnaviga8onop8onspresentsagracefulcadenceforthepiece,somethingthatispar8cularlyunusualinthemorecommonplacenever‐endingwebexperience
.Thispieceworkswell,andintegratesthemediuminawaythatdoesn'tgetinthewayofthecontentandmessage.h,p://www.teleportacia.org/war
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Organize/Reorganize?
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http://www.moma.org/
http://www.potatoland.org/shredder/
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BREAK
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Create?
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h,p://www.likeneveralways.com/uninspiredminimalistgraphicsandharmonica/
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1971 – Floppy diskette invented by IBM
1972 – Atari invented “pong”
1974 – Naim June Paik invents the term “information superhighway”
1976 – Wozniak and Jobs form Apple Computer
1982 – Time magazine declares the computer as “Man of the Year”
1985 – MIT Media Lab formed
1990 – HTML invented by Tim Berners-Lee
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New Tool
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New Media art emerged from its historical precedents. Originally a marginal field (in the hands of a few nerds) public interest grew out of a fascination with the potential of new technologies. In America, there was the “California Ideology” which was libertarianism and technological utopianism fed by “Wired” magazine.
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Germany’sfirstcomputergraphicswerejointlyproducedin1960bythear8stKurdAlslebenandthephysicistCordPassow.Theyworkedonananalogcomputerwhichwaslinkedtoanautoma8cdra\ingunitandtransformedparametersofadifferen8alequa8onintodevia8onsanddisturbances.
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LillianRoss(1974)NightScene•Computergeneratedetchingonmetalplate
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CharlesCsuri(1969)Un-tled•b/wPlo,erDrawing,inkonpaper
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PeterKreis(1970)Compartno.11•ColoredPlo,erDrawing
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TonyLongson(1970)GroupTheoryGrid•computerassistedpain-ng
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StephenBell(1978)Un-tled•computerassistedpain8ng
Material:DatageneratedusingRanstakprogramand"helix"shapes,plo,edonnewsprintwithcyan,magenta,andyellowedding1380brush‐pens.9"x9".
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h,p://macke.informa8k.uni‐bremen.de/compartdb/d/
DATABASEforEarlyComputerArt
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1998 – Netscape announces that it will make its source code freely available to the public
1998 – The Web becomes worldwide as the last 21 nations come online.
2000- stock market crash and bursting of dot.com bubble.
2003 – New Museum affiliates with Rhizome.org
2004 - Google goes public, IPO fetches 1.7 billion dollars
2009 – Facebook reaches 175m users making it the 8th largest “country” in the world
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ARTISTS
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AutoDregsRecordings
E*RockAsteroids(2008)h,p://vimeo.com/2595795
DimDimSplit(2010)h,p://vimeo.com/2414569
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ASubmissionIdea
h,p://www.tedxpoznan.com/
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AndyDeck
TheScreeningCircle(2003)h,p://www.artcontext.net/act/05/screeningCircle/
ScreeningCircleadaptstheculturaltradi8onofthequil8ngcircleintoanonlineformat.Visitorstothesitecanenterthedrawingareatocomposeloopsofgraphicsandaffectandediteachother'sscreens.Thepiecescanbemadebyonepersonorbyseveralpeopleandthearrangementofthesegmentscanbehaphazardorprecise.Inthescreeningarea,theresul8ngmo8ongraphicswillbeonviewinstantaneously.
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GolanLevinwithKamalNigamandJonathanFeinberg
TheDumpster(2003)h,p://artport.whitney.org/commissions/thedumpster/dumpster.shtml
TheDumpsterisaninterac8veonlinevisualiza8onthata,emptstodepictaslicethroughtheroman8clivesofAmericanteenagers.Usingrealpos8ngsextractedfrommillionsofonlineblogs,visitorscansurfthroughtensofthousandsofroman8crela8onshipsinwhichonepersonhas"dumped"another.
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MarcLafia&Fang‐YuLin
TheBa,leofAlgiers(2006)h,p://artport.whitney.org/commissions/ba,leofalgiers/Ba,leofAlgiers.shtml#
TheBa,leofAlgiersrecomposesscenesfromthe1965filmofthesamenamebyItaliandirectorGilloPontecorvo.TheoriginalfilmisareenactmentoftheAlgerianna8onaliststruggleleadingtoindependencefromFrancein1962.Thesuccessoftheactualba,leforindependencehasbeena,ributedtothena8onalists'organiza8on:apyramidalstructureofself‐organizedcells.LafiaandLinrecomposedthefilmalongacell‐basedstructure,inwhichFrenchAuthorityandtheAlgerianNa8onalistcellsarerepresentedbys8llsfromthefilmandmoveaccordingtodifferentrulesets.Whencellsofdifferentcampsintersect,theytriggervideocellsdisplayingeachside'stac8cs(asdepictedinthefilm)accordingtotherulesofthesystem.
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MarkNapier'sShredder1.0interfacewasfirstrevealedin1998.TheShredder1.0webinterfacewascreatedtobebothaninterac8veexhibitaswellasanartworkgenerator.TocreateanimagetheuserinsertsaurlintotheShredder1.0andthecodeisthenreinturpretedbyaPerlScriptcodecreatedbyNapier.[1]PerlScriptisastable,opensourceprogramminglanguageandisthemostpopularwebprogramminglanguageduetoitstextmanipula8oncapabili8esandrapiddevelopmentcycle.[2]InhispiecesummaryNapierexplainsthatinhisviewthewebisnotaphysicallyrepresenta8onofinforma8oninthesamewayamagizineorbookis,butinsteadatemporarygraphiccreatedwhenbrowsingso\wareinterpretsHTMLinstruc8on.[3]ThefocusofShredder1.0istorevealthishiddentruthbehindtheinternetandgivetheuseranewinterpreta8onofcommonwebpages.
www.potatoland.org/shredder/
Mark Napier
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SuperMarioCloudsSuperMarioClouds»isbasedonthe«SuperMario»gameforNintendo’sNESgameconsole.CoryArcangelhackedthegameandmodifieditsothatallthatremainsofthegamearethewhitecloudsonabluesky.Goneisthemaincharacter,SuperMario,whotheplayerhadtoguidethroughalabyrinthintheoriginaljumpandrungame,justliketheobstacles,landscapesandopponentsthatlendthegameitsnarra8vestructure.Thosepeoplewhoarefamiliarwiththegamecanimaginethemontheemptybackground,everyoneelsewilljustseethecartoon‐likedisplayofasky.Theworkwascreatedonthebasisofamanipula8onofthehardwareandso\ware.CoryArcangelhadtoopenthecartridge,onwhichthegamewasstored,andreplacetheNintendographicschipwithachiponwhichhehadburnedaprogramhehadwri,enhimself.CoryArcangelisamemberoftheBeigeProgrammingEnsemblewhohavefocusedtheirar8s8cprogrammeonthehackingethicofmanipula8ngexis8ngtechnology,therebytakingthemodifica8onoflegacytechnologytoabsurdextremes:thegrouphavepublishedcomputerprogramspressedonrecordsandorganiseanannualcompe88onfor«casse,ediskjockeys.»
Cory Arcangel
h,p://www.coryarcangel.com/things‐i‐made/SuperMarioClouds
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"UncomfortableProximity"isthe8tleofthison‐lineprojectcreatedbyHarwood,amemberoftheMongrelcollec8ve.CommissionedbyTateNa8onalProgrammes,itmirrorstheTate'sownweb‐site,butoffersnewimagesandideas,collagedfromhisownexperiences,hisreadingsofTateworksandpublicitymaterialsandhisinterestintheTateBritainsite.Relatedcri8caltextsbyMa,hewFullerareintheConnec8onssec8onoftheTateweb‐site".
Harwood@Mongrel
Hogarth,MyDad1700‐2000AttheTATEWebsite
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MIT Media Lab
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DATABASE AESTHETICS
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• EARTH,auniquegeo‐spa8alvisualiza8onsystem,cullsreal‐8medatafromtheInternetandaccuratelyposi8onsitontoathree‐dimensionalmodeloftheEarth.TheEARTHso\wareaccuratelyposi8onsreal‐8medataculledfromtheInternetonathree‐dimensionalmodeloftheEarth.Viewersareabletotravelfromlayertolayerbyzoominginandretrievingimageryanddataforspecificregions.
John Klima
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1:1wasaprojectcreatedin1999whichconsistedofadatabasethatwouldeventuallycontaintheaddressesofeveryWebsiteintheworldandinterfacesthroughwhichtoviewandusethedatabase.CrawlersweresentoutontheWebtodeterminewhethertherewasaWebsiteataspecificnumericaladdress.Ifasiteexisted,whetheritwasaccessibletothepublicornot,theaddresswasstoredinthedatabase.However,theWebwaschangingfasterthanthedatabasewasupdatedandin2001itwasclearthatthedatabasewasoutdated.
Lisa Jevbratt
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FlickrGraphisanapplica8onthatexploresthesocialrela8onshipsinsideflickr.com.Itmakesuseoftheclassica,rac8on‐repulsionalgorithmforgraphs.Startexploringyourcontactsbyenteringyourflickrusernameortheemailaddressyouusedtoregisterthere.
Flickrgraph
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MappingTransi8onswasanexhibi8oncuratedbyChris8anPaulattheUniversityofColorado.Whiledis8nctlydifferentintheirapproach,theartprojectscommissionedforMappingTransi8onsareallconcernedwiththevisualiza8onofvariousformsofdataflowanddatasets.BothMaryFlanagan’sandLisaJevbra,’sprojectexplorethe‘search’asanaesthe8cformofmappingtheInternet.Flanagan’s[search]examinesthesearchengineasacreatorofcontextandmeaningbyreconfiguringitscontentinawaythatillustratesseman8clevels,whichusuallyaren’tobvioustotheviewer.Displayingtheconstantstreamofques8onsthatusersasktheInternet—astreamthatrangesfromtheridiculoustothesublime—theprojectcreatesatopographyofInternetusers’interestsandamapofthefunc8onthattheInternetfulfillsinpeople’sdailylives.
Christiane Paul
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Ecosystmisareal‐8merepresenta8onofglobalcurrencyvola8lityfluctua8ons,leadingglobalmarketindexes,andup‐to‐the‐minuteweatherreportsfromJFKairport.Commissionedin2000byZurichCapitalMarkets,aninvestmentcompanybasedinNewYork,ecosystmtakesdataZCMuseseveryday,re‐purposingittodrivea3denvironmentalsimula8onviewersexploreusingajoys8ck.Ecosystmconsistsofflocksof"birds"(eachflockrepresen8ngacountry'scurrency)andbranching"tree"structures(eachtreerepresen8ngacountry'sleadingmarketindex).Asamarketindexadvances,thetreegrowsnewbranches.Iftheindexdeclines,branchesbegintofalloffthetree.Similarly,acurrency'scurrentvalueagainstthedollarisindicatedbyanincreaseordecreaseinthepopula8onoftheflock.
John Klima
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Mouchette.org
Mouche'e.orgisaninterac1vewebsitecreatedin1996byapseudonymouscharacter,anAmsterdam‐basedar1stwhocallsherself"Mouche'e".Withherinnocentsaluta1onandclaimstobe"nearlythirteen"[1]gree1ngusfromtheintroduc1onpage,whatini1allyappearsasapersonalwebsiteofapre‐pubescentfemalear1st,evolvesintodarkerthemesinthesubsequentpages.
h,p://mouche,e.org
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h,p://www.youtube.com/watch?v=zSP8xm_gaK4&feature=video_response
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Chris8anePaul‐TheDatabaseasSystemandCulturalForm:AnatomiesofCulturalNarra-ves
LevManovich‐DatabaseasaSymbolicForm
LevManovich‐DataVisualiza-onasNewAbstrac-onandAn-‐Sublime
WarrenSack‐Aesthe-csofInforma-onVisualiza-on
BreNStalbaum‐AnInterpre-veFrameworkforContemporaryDatabasePrac-ceintheArts
BreNStalbaum‐APerLandArt:DatabaseandtheLoca-veTurn
LevManovich‐SocialDataBrowsing
DATABASEAESTHETICSREADINGSh,p://victoriavesna.com/dataesthe8cs/
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h,p://www.computerarts.co.uk/home
h,p://www.wired.com/
h,p://www.eai.org/eai/aboutEaiFaq.htm
h,p://eyebeam.org/
h,p://ctheorymul8media.cornell.edu/f
h,p://www.likeneveralways.com/
h,p://rhizome.org/
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