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Arts 12 Theses

Museums of New Media Art should promote interactivity amongst their exhibits as a means of creating a collaborative and enriching experience between the artwork and the individual audience member.

 Museums of New Media Art should be foregrounded in the realm of technology. They should utilize the internet to its utmost potential, using social media sites such as Facebook and Twitter to express and promote their artistic collections.  

Museums of New Media Art should be a place of sanctuary that fosters a sense of inspiration amongst its viewers to be innovative as well as creative.

 Museums of New Media Art should be accessible to everyone whether it be through a physical or virtual setting.

 Museums of New Media Art should try to integrate traditional art with new media art as a means of creating a richer view experience that bridges the gap between the “new and the old”

 Museums of New Media Art should be constantly improving itself to better serve audiences and artists alike.

Museums of New Media Art should not only display artworks but should chronicle their history. All exhibits should include the: who, what, when, where, why and how of the particular art piece.

 Museums of New Media Art should categorize their artworks in particular exhibits that promote a certain message or purpose.

Curators of New Media Art should promote critical thinking amongst their audiences. Tours given in these museums should inspire viewers to be open and allow the audience to  have a collaborative and meaningful discussion of their opinions in regards to particular artworks.

 Museums of New Media Art should promote artistic solidarity as means of establishing art as a community of artists not just an individual.

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Title: Inflatable Bodies

Artist: Chico MacMurtrie

Location: http://beallcenter.uci.edu/beallDrupal/exhibitions/inflatable-bodies-chico-macmurtrie

Description:

Chico MacMurtrie uses various technologies to create a particular illusion of a live object or living being. It utilizes  computational devices to achieve a very subtle level of control and movement. Additionally the particular being adapts to the movements of its viewers, changing its shape to produce a wide array of forms. Through computerized control, MacMurtrie's sculpture expands and contracts and changes itself based upon the principles of a skeletal muscular system.

Artist Website:

http://amorphicrobotworks.org/works/index.htm

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Title: Feel Me

Artist: Marco Triverio

Location: http://www.creativeapplications.net/iphone/feel-me-by-marco-triverio-digital-touch-and-new-interactive-channels-for-bit-intimacy/

Description: 

Feel me is a projected created by Marco Triverio to bridge the gap between two forms of communication, synchronous (phone calls) and asynchronous (text messaging) communication. In using mobile devices such as the iPhone, the Feel Me project seeks to enhance digital communication and allow people to connect differently. In today’s current mobile phone technology, we usually draw the lines along phone calls and text messaging with regards to communication but the Feel Me projects seeks to break this barrier and allows something that gives an opportunity to be more intimate in real time, nonverbally, through touch.  The Feel Me project manifests itself as a text messaging application. When one person touches the screen, his or her movements can be tracked as small dots on the screen and when the corresponding person in the conversation touches the screen where the other person is touching, a signal, usually a vibration marks their interaction.

Artist Website

http://www.cs.uic.edu/~mtriveri/Marco_Triverio/Portfolio.html

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Title: Cell

Artists: James Alliban & Keiichi Matsuda

Location: http://keiichimatsuda.com/cell.php

Description:

The project “Cell” is an interactive installation that utilizes the motion sensor capabilities of the Xbox Kinect. The concept of the project was to mirror the fact that in today’s society people tend to create different personas or what some may call a “second self” with the creation of different social media applications such as Facebook, Twitter and Tumblr. Cell acts as virtual mirror in which it creates a virtually constructed fictional persona in place of our physical selves which is composed of keyword tags mined from online profiles. These virtually constructed profiles stalk your movement through a space and build in size and density over a certain period of time. The resulting outcome is a virtual manifestation that seeks to bring together our physical and our virtual selves. The purpose of the project is to get society to think about how we use social media to create a separate personas for ourselves and how we use these personas to define and categorize us.

Artists Websites:

http://jamesalliban.wordpress.com/2011/10/27/cell/

http://keiichimatsuda.com/cell.php 

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Title: Don't Stop the Music

Artist: Keone Madrid & Mariel Martin

Location: http://www.youtube.com/watch?v=bI_xDZCp9T4

Description: 

“Don’t Stop the Music” is a choreography concept video that was choreographed by Keone Madrid and Mariel Martin. It was produced by Kanaru Productions which consists of Richard Che and Qui Truong. The song being choreographed to is “Don’t Stop the Music” by Jamie Cullum. The concept of the video was to create a hip hop piece that infused the look and feel of the roaring twenties. Its purpose was to relate one generation of dance to another using a modern song that draws from the feel of the roaring twenties. The way this piece relates to new media art is due to the fact the concept video draws on technology such as lighting and editing to enhance and flesh out the look and feel of the choreography, thus providing a more effective way in conveying the artists’ message to the reader.

Artists Website : http://www.youtube.com/user/keoneANDmari

Production Company Website: http://kanauru.net/

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Arts 12 Paper 3

In an excerpt of Lanier’s book I Am Not a Gadget: a Manifesto, Lanier argues that the internet or as he says “web 2.0 designs” has caused “flatness” within the cultural expression of new media art. What he claims from this perspective is that “web 2.0” has devalued new media art in which it is only recycling aspects of past innovations instead of creating new ones ( Lanier 2).  In other words, society has become complacent with only small technological advances, being elated with every little release. Lanier advocates the plunge into creating “larger code” to make bigger innovations within technology as he sees it “useless to keep writing tiny programs forever”. The concept of flatness, elaborated upon by Lanier is something that it is detrimental to human affairs as it denies any source of creativity, only creating “blandness and meaningless” (2).  As a consequence, this seeks to deter the creativity with new media thus sustaining a boring and un-innovative demeanor. An example of this as stated by Lanier, is through music. He states that digital production of music has become “sterile and bland” with the constant use of samples and that sadly the only medium that seeks to break out of this bland prison is hip –hop music ( Lanier 12).

            Within Jacques Rancier’s article, The Emancipated Spectator,  Rancier argues that spectatorship is something that is detrimental towards the theatrical experience. He goes on to elaborate that spectatorship is an act that involves “looking “and that “looking” is something bad.  In the sense that “looking is bad”, Rancier is trying to imply that spectatorship is a concept that is too passive in which “looking is the opposite of knowledge”. In spectating one is only looking at what is happening instead of experiencing the entire performance and taking in the values and morals that arise from particular show ( Rancier 272).  Throughout the article, Rancier advocates that the theater should be reverted back towards its true and original essence in which the true sense of the theater is “predicated upon acting power”. What this particular reformation entails is creating a theater where spectatorship will be eliminated. In this sense, the role of the spectator will become active in which they will be actively learning instead of receiving image after image throughout the performance.  In eliminating spectatorship, Rancier is calling for an enriched community where spectators and performers will integrate and create a collaborative performance (272).

            In his article, Discipline and Punish, Foucault elaborates upon the concept of Panopiticism.  Panopiticism is an idea that is based off of a central tower. What this central tower implies is the ability to be omniscient or have the power to see all. The concept of Panopiticism is to provide an effect that induces a state of awareness and permanent visibility that assures the automatic functioning of power ( Foucalt 4).  Throughout the article, Foucault elaborates upon the idea of Panopiticism and how it is an accepted norm of “political anatomy” which in turn means that object and end are not relations of sovereignty but that of discipline ( Foucalt 9).

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Manifesto for New Media Curators

From choreography to paintings, art is an ambiguous entity that can be expressed through countless number of ways. Art is any form of expression that seeks to not only convey one’s innermost feelings but is a medium that captures one’s own personal creativity.  It is an eternal concept that is constantly changing and revamping itself to adapt with changes in society and culture. With the rampant advancement of technology, “new media art” is becoming more and more prevalent as the dominant form of artistic expression.  With tools such as the internet and the computer, one can easily create and share art through websites such as Tumblr, Devianart, and YouTube. In a click of a button one can be easily exposed to different forms of new media art such as concept videos in choreography or simply video games. It is this ease of creation and exposition that according to Charlie Gere categorizes “new media as computer technology used as a Distribution platform”. Technology is essential in the evolution of art. Not only does technology provide an adequate platform to share art among others but it also provides a medium for artists to amplify their own creative ability.

            Like all other art, New Media Art is something that cannot be easily organized. Art is always constantly changing and thus the way we organize art is also constantly changing to evolve itself to something better. For instance the idea of evolving art can be exemplified in the evolution of dance. According to the article “Dance and Media Technologies”, the implementation of technology and new media art with regards to dance has caused “motivated choreographers to reconceive the aesthetics of dance for the theatre”. With different forms of art curtailing itself with the changes of technology and time, I feel the most adequate way to categorize New Media art is by the purpose it seeks to impart upon its audience. For example with regards to New Media Art, an important concept is instability. In accordance to the V2_Organization, instability in New media art plays an important role in the “re-ordering of the social/cultural, political and economic relations within society”. So to efficiently categorize New Media Art, we as an audience must have to discern the meaning of particular artistic creations and what implications it may have on categories social, political, and economic aspects of society.

New media can be thought of as a multidisciplinary form in which it can utilize different aspects from other forms of arts. An essential idea that arises from this multidisciplinary platform is the concept of “collaboration”. New media art collaborates with other art forms in which different expressions of art such as dance and film utilize technology as means of amplifying their artistic features and creativity. Therefore in displaying New Media Art, there should be no restriction. Like any other art form, New Media art should be expressed through whatever medium possible as art is something that is meant to be shared with everyone, both the general public and artistic curators alike. With regards to this, New media art is something that shouldn’t just be shared digitally on the internet, it should be also displayed in art galleries with paintings of great artists such Picasso. This concept of multidisciplinary implementation relates to Gere’s concept of” New Media as a the Mix between Existing Cultural Conventions and the Conventions of Software” New Media Art is something that transcends the conventions of art proceeds to integrate both new and traditional art.

  To archive New Media art, I believe the internet is the most adequate medium to store all artistic creations that are related to this particular art form. With the ease of the internet and technology today, the internet is the most efficient way to keep track of the work of digital artists. The internet makes it possible for millions of users to easily access different forms of art with the click of the button. As more and more users become familiar and users of digital media art, the internet is the only database or gallery large enough to efficiently categorize and store this large collection of creative digital media.

Citations:

http://www.v2.nl/organization/mission

http://www.jstor.org/stable/3246461

https://docs.google.com/a/uci.edu/document/d/104_ONuRSx4uaCeMxB1ulejJmdpG806kGDT53IwxcHD4/edit

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Arts 12 Paper 1

From Manovich’s article, New Media from Borges to HTML and Gere’s article, New Media Art and the Galley in the Digital Age, I learned that new media art is something that has been traced back as far as WWII. The sole reason we consider new media art today as such an emerging field is because we tend to only associate digital art with “current phenomenon” such as music and video games. In trying to analyze and discern this week’s challenging readings, I believe that the use of hyperlinks was essential in understanding the key concepts and aspects of Lev Manovich and Charlie Gere. Within both readings there were many distinct terms as well as people that were unknown to me. Like many other readers, I found myself confused and lost as I tried to make meaning of such complicated “jargon”.  But with the help from the embedded hyperlinks I was not only able to follow the reading more easily but I was able to surmount a large amount of background information that made unfamiliar terms and difficult concepts less of a burden to absorb. For instance within the first few pages of the Gere article, I was immediately bombarded with unfamiliar terms such as futurism and surrealism. In utilizing the hyperlinks, I was able to discover that futurism was an artistic and social movement that embraced contemporary beliefs about the future while surrealism was a literary movement that experimented with automatism to unleash the imagination of the subconscious. From garnering such information in the hyperlinks I was able understand the artistic movements of futurism and surrealism and how they contributed in the progression of digital media art.

            As stated by Gere in his article, with the introduction of such tools such as HTML and web browsers, artists were able to express their creativity and work under the platform of net.art. This concept of spreading artwork through the internet correlates with one of Lev Manovich’s 8 propositions in which new media is considered as a distribution platform. The idea of artists posting their art online and using digital platforms such as Rhizome to share their work relates to digital media as a distribution platform in which artists are using “new media” such as the internet to advertise as well as promote themselves to numerous web users around the world. In a sense the internet makes the publisher or artist and his or her works as an open source for all web users to view and share.

            With regards to the particular statement made by Gere that “The gallery has an important role to play in making this art visible, not just now but also in the future, when such work will be part of art history”, I agree in some aspects and disagree in another. In my opinion I believe that the idea of making all forms of art visible for everyone is essential but the medium that it is done in can vary from physical to virtual. With the rapid growth of technology within society, art is becoming more and more available through the internet, thus making it easier as well as more convenient for users to enjoy various forms of art from their comfort of their homes instead of going through all the trouble to visit an art gallery. With the ease of web tools such as hyperlinks to view online art galleries, the internet has made the need to visit art galleries, efficiency wise, sort of obsolete.

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Title: Lectures on Jewish antiquities: delivered at Harvard University in Cambridge, A.D. 1802 & 1803

Publisher: W. Hilliard and E. Lincoln, 1807

Original from: Harvard University

Date Digitized: Dec 29, 2006

Link: http://goo.gl/CeRkC

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Electronic Disturbance Theater

Founded in 1997, the EDT or Electronic Disturbance Theater is a hacktivism group comprised of cyber activists and performance artists who seek to implement as well as develop the theory of Electronic Civil Disobedience, a practice that advocates the use of non-violent yet disruptive methods to develop protest. The group was founded by Ricardo Dominguez, a professor at UCSD for visual media art, and consists of his fellow colleagues:  Brett Stalbaum, Amy Sara Carroll, Micha Cardenas, and Elle Mehrmand.  As a whole, they choose to express their views opposed to anti-propagandist and military actions through the organization and programming of computer software as well as the mobilization of digital users through virtual sit-in protests as a means to create a presence in direct digital action.

Originally the EDT was formed as means of support for the Zapatista guerilla movement in Mexico.  As a means of lending their support, the EDT created and used a tool called Floodnet to attack websites that were oppressing the Zapatista movement. These particular sites include websites from the Pentagon, the White House, the school of the Americas, the office of Mexico’s president, the Mexican stock exchange and the Frankfurt stock exchange. In using the Floodnet program, the EDT was able to implement virtual sit-in’s which thus enabled them to disrupt opposing websites through the over exertion of computer networks and servers. By creating such an act of civil disobedience, the EDT sought to utilize their expertise in digital media and internet based to technology to create a voice for those being oppressed which in this case was the Zapatista.

Currently, the EDT has furthered their efforts in a new endeavor where they believe they have taken the next step in civil disobedience. The new project that the EDT has dedicated their time to is called the Transborder Immigrant Tool, a GPS cellphone tool that helps immigrants cross the U.S./ Mexico border.  

References:

http://www.lareplay.net/artists/electronic-disturbance/

http://en.wikipedia.org/wiki/Electronic_Disturbance_Theater#cite_note-2

http://goo.gl/NCUQv

http://www.thing.net/~rdom/ecd/EDTECD.html

Image/ Video Citations:

http://youtu.be/aR1U7uI487E

http://www.jornal.us/pictures/52599789_transborder.jpg

https://wiki.brown.edu/confluence/download/attachments/18538/008.jpg

http://upload.wikimedia.org/wikipedia/commons/thumb/9/97/Electronic-disturbance-theater.jpg/300px-Electronic-disturbance-theater.jpg