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

NEW MEDIA ART

ASP American Art and Visual Culture Dr. Lori Kent Spring 2010

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.

TOOLS

Hardware and software…

servers, routers, PCs, database applications, video and computer games, wireless phones, surveillance cameras, GPS, social networks, etc.

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.

Theolddayswerenotsolongago!

•  h,p://www.youtube.com/watch?v=3dZRNBmxm_E

NEW MEDIA PRECEDENTS

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….

What do computers do well?

Combine?

HannahHoch

h,p://www.sepiatown.com/

Copy?

AndyWarhol

SherrieLevine“A\erWalkerEvans”(1981)

TheoriginalisbyWalkerEvans”HaleCountyAlabama”(1936)

Spread Data?

Yourblog?

Focus on Idea?

MeirleLadermanUkelesh,p://freshkillspark.wordpress.com/2009/01/

MarkNapierh,p://www.potatoland.org/landfill/

h,p://obadike.tripod.com/ebay.html

Mendi+KeithObadike

Experiment?

ManRay

h,p://www.etsy.com/shop/mumbreeze

Backtolastweek…YourmillionzlotyonETSY.com?

$4,323.45USD

12335.21pln

Mumbleboy h,p://www.youtube.com/watch?v=4mvE‐Lgeke0&feature=PlayList&p=75F72B4DC91864D9&index=7

Collaborate?

h,p://www.youtube.com/watch?v=WKmb2S5Lt8Y&feature=PlayList&p=75F72B4DC91864D9&index=0

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.

Participation?

CtheoryMul8media–dynamicpoetry–“Crosspurposes”h,p://ctheorymul8media.cornell.edu/issue1/menu2.html

StanisławaDrożdżaatCSWWarszawah,p://www.youtube.com/watch?v=dtm9mlnPWGE

h,p://www.youtube.com/watch?v=gbyy5vSg8w8

“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

Organize/Reorganize?

http://www.moma.org/

http://www.potatoland.org/shredder/

BREAK

Create?

h,p://www.likeneveralways.com/uninspiredminimalistgraphicsandharmonica/

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

New Tool

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.

Germany’sfirstcomputergraphicswerejointlyproducedin1960bythear8stKurdAlslebenandthephysicistCordPassow.Theyworkedonananalogcomputerwhichwaslinkedtoanautoma8cdra\ingunitandtransformedparametersofadifferen8alequa8onintodevia8onsanddisturbances.

LillianRoss(1974)NightScene•Computergeneratedetchingonmetalplate

CharlesCsuri(1969)Un-tled•b/wPlo,erDrawing,inkonpaper

PeterKreis(1970)Compartno.11•ColoredPlo,erDrawing

TonyLongson(1970)GroupTheoryGrid•computerassistedpain-ng

StephenBell(1978)Un-tled•computerassistedpain8ng

Material:DatageneratedusingRanstakprogramand"helix"shapes,plo,edonnewsprintwithcyan,magenta,andyellowedding1380brush‐pens.9"x9".

h,p://macke.informa8k.uni‐bremen.de/compartdb/d/

DATABASEforEarlyComputerArt

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

ARTISTS

AutoDregsRecordings

E*RockAsteroids(2008)h,p://vimeo.com/2595795

DimDimSplit(2010)h,p://vimeo.com/2414569

ASubmissionIdea

h,p://www.tedxpoznan.com/

AndyDeck

TheScreeningCircle(2003)h,p://www.artcontext.net/act/05/screeningCircle/

ScreeningCircleadaptstheculturaltradi8onofthequil8ngcircleintoanonlineformat.Visitorstothesitecanenterthedrawingareatocomposeloopsofgraphicsandaffectandediteachother'sscreens.Thepiecescanbemadebyonepersonorbyseveralpeopleandthearrangementofthesegmentscanbehaphazardorprecise.Inthescreeningarea,theresul8ngmo8ongraphicswillbeonviewinstantaneously.

GolanLevinwithKamalNigamandJonathanFeinberg

TheDumpster(2003)h,p://artport.whitney.org/commissions/thedumpster/dumpster.shtml

TheDumpsterisaninterac8veonlinevisualiza8onthata,emptstodepictaslicethroughtheroman8clivesofAmericanteenagers.Usingrealpos8ngsextractedfrommillionsofonlineblogs,visitorscansurfthroughtensofthousandsofroman8crela8onshipsinwhichonepersonhas"dumped"another.

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.

MarkNapier'sShredder1.0interfacewasfirstrevealedin1998.TheShredder1.0webinterfacewascreatedtobebothaninterac8veexhibitaswellasanartworkgenerator.TocreateanimagetheuserinsertsaurlintotheShredder1.0andthecodeisthenreinturpretedbyaPerlScriptcodecreatedbyNapier.[1]PerlScriptisastable,opensourceprogramminglanguageandisthemostpopularwebprogramminglanguageduetoitstextmanipula8oncapabili8esandrapiddevelopmentcycle.[2]InhispiecesummaryNapierexplainsthatinhisviewthewebisnotaphysicallyrepresenta8onofinforma8oninthesamewayamagizineorbookis,butinsteadatemporarygraphiccreatedwhenbrowsingso\wareinterpretsHTMLinstruc8on.[3]ThefocusofShredder1.0istorevealthishiddentruthbehindtheinternetandgivetheuseranewinterpreta8onofcommonwebpages.

www.potatoland.org/shredder/

Mark Napier

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

"UncomfortableProximity"isthe8tleofthison‐lineprojectcreatedbyHarwood,amemberoftheMongrelcollec8ve.CommissionedbyTateNa8onalProgrammes,itmirrorstheTate'sownweb‐site,butoffersnewimagesandideas,collagedfromhisownexperiences,hisreadingsofTateworksandpublicitymaterialsandhisinterestintheTateBritainsite.Relatedcri8caltextsbyMa,hewFullerareintheConnec8onssec8onoftheTateweb‐site".

Harwood@Mongrel

Hogarth,MyDad1700‐2000AttheTATEWebsite

MIT Media Lab

DATABASE AESTHETICS

•  EARTH,auniquegeo‐spa8alvisualiza8onsystem,cullsreal‐8medatafromtheInternetandaccuratelyposi8onsitontoathree‐dimensionalmodeloftheEarth.TheEARTHso\wareaccuratelyposi8onsreal‐8medataculledfromtheInternetonathree‐dimensionalmodeloftheEarth.Viewersareabletotravelfromlayertolayerbyzoominginandretrievingimageryanddataforspecificregions.

John Klima

1:1wasaprojectcreatedin1999whichconsistedofadatabasethatwouldeventuallycontaintheaddressesofeveryWebsiteintheworldandinterfacesthroughwhichtoviewandusethedatabase.CrawlersweresentoutontheWebtodeterminewhethertherewasaWebsiteataspecificnumericaladdress.Ifasiteexisted,whetheritwasaccessibletothepublicornot,theaddresswasstoredinthedatabase.However,theWebwaschangingfasterthanthedatabasewasupdatedandin2001itwasclearthatthedatabasewasoutdated.

Lisa Jevbratt

FlickrGraphisanapplica8onthatexploresthesocialrela8onshipsinsideflickr.com.Itmakesuseoftheclassica,rac8on‐repulsionalgorithmforgraphs.Startexploringyourcontactsbyenteringyourflickrusernameortheemailaddressyouusedtoregisterthere.

Flickrgraph

MappingTransi8onswasanexhibi8oncuratedbyChris8anPaulattheUniversityofColorado.Whiledis8nctlydifferentintheirapproach,theartprojectscommissionedforMappingTransi8onsareallconcernedwiththevisualiza8onofvariousformsofdataflowanddatasets.BothMaryFlanagan’sandLisaJevbra,’sprojectexplorethe‘search’asanaesthe8cformofmappingtheInternet.Flanagan’s[search]examinesthesearchengineasacreatorofcontextandmeaningbyreconfiguringitscontentinawaythatillustratesseman8clevels,whichusuallyaren’tobvioustotheviewer.Displayingtheconstantstreamofques8onsthatusersasktheInternet—astreamthatrangesfromtheridiculoustothesublime—theprojectcreatesatopographyofInternetusers’interestsandamapofthefunc8onthattheInternetfulfillsinpeople’sdailylives.

Christiane Paul

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

Mouchette.org

Mouche'e.orgisaninterac1vewebsitecreatedin1996byapseudonymouscharacter,anAmsterdam‐basedar1stwhocallsherself"Mouche'e".Withherinnocentsaluta1onandclaimstobe"nearlythirteen"[1]gree1ngusfromtheintroduc1onpage,whatini1allyappearsasapersonalwebsiteofapre‐pubescentfemalear1st,evolvesintodarkerthemesinthesubsequentpages.

h,p://mouche,e.org

h,p://www.youtube.com/watch?v=zSP8xm_gaK4&feature=video_response

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/

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/

RESOURCES: