lanalinet

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Repercussion by Carla Diana is an interactive sound work that encourages users to play, explore and create sounds which are collected into a musical rhythm through the manipulation of shapes and lines.  This project is designed for the basic level user who is interested in experimentation and for the more advanced who can manipulate these objects to create truly individual sounds and rhythmic combinations.   Repercussion is an ongoing project in which the interface, sounds and combinations are constantly being updated.  Repercussion artists showcase their new sounds at live events which are hosted at various location in the United States.  This is truly interactive due tot he fact that users are encouraged to create accounts which allows them to create music from any computer anywhere. 

Artist : Carla Diana

Post Created By: Svetlana Linetskaya

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C. J. Yeh is an internationally recognized artist, writer and researcher.  His large breadth of work includes data based art, essays on New Media and a small collection of published research papers. Yeh integrates the analog and traditional artistic mediums, such as painting, with the digital world of data as inspiration and determinant of the creation.  My Data= My Mondrian is a truly interactive work which in a way bridges the gap between digital and analog as both depend on each other in order to create meaning.  The viewer is encouraged to enter some descriptive and statistical information about themselves which is then translated into lines, shapes and colors based on a previously programed set of rules and outcomes.  The information entered by the user is translated into a Mondrian style painting.  The user then has the option to print and keep a physical artifact created with the users personal information.  

Year Created: 2004

Submitted to ArtBase: Tuesday Apr 13th, 2004

Original Url: http://archive.rhizome.org/artbase/24114/myData/

Permalink: http://archive.rhizome.org/artbase/24114/myData/

Work Credits: C. J. Yeh, creator

Post created by Svetlana Linetskaya

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New Media Should...and Could....

In order to have a new approach to new media or better curate and house new media with in the institution, New Media Artists, Curators and the institutions that show case New Media art should agree to first decide that any aesthetic is a good aesthetic. 

A New Media Art viewing should attempt to bring art to the people.  Bring it into the streets where they too can see.  Make New Media Art available to all.

Sabotage the streets b y inserting kinetic sculpture and creative technological peiecs that will not only attract attention but bring the message to the streets.  

New Media Art should incorporate a New Media understanding of art into its curatorial practice.

Showcase art that is not only interesting in its use of technology and media but that also creates a dialogue and engages the person who views it.

Museums should show anything by anyone that adds to the current art conversation and culture as a whole. 

New Media Museums should not be picky at all as they have the physical space and the endless virtual space to fill with New Media Art. 

For those who want to visit a New Media Museum, they should not be limited only by what can fit inside the walls of the museum.  Instead the museum should act as an interactive archive.  These interactive archives should be rooms in which people can view as much New Media art history as possible.  Then go into the museum to see them newest art being created.   

New Media Museums need to begin to create an art historic archive around Digital and New Media Arts.

New Media, as an artistic collective should create exhibition sites, virtual and physical, that are more main stream and are not connected to social networking. 

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            Reuben Margolin is inspired by a combination of natural beauty, power and structure to create his kinetic works of art.  Margolin’s works of art take on a quality of scietific investigation with a focus on visual aesthetics and representation.  His work is mostly based on the model of the wave and the water drop.  The waves themselves are ceated with many pieces of various types of materials such as rope or wood.  These waves are suspeded from the ceiling using many thin strings that are connected like strings to a puppet.  These strings are then connected to a motor which moves then to produce the wave.    In margolins innitial ivestigations the wave was controll by one motor which produces a wave that was only able to move in a single direction.  In his latest work, Magic Wave, the wave is based on a square version of a wave wich has waves moving in four direction simultaniousely and is controlled by multiple motors which are linked to computers running a special programed software.  The Magic Wave creates a ten foot square over the viwever which is constucnt transition.    

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          Ellie Harrison is an artist who uses data, complicated programming software, real time news feeds, and rss feeds as a source of inspiration from which she creates art that is both conceptually interesting and relevant to the contemporary issues within society.  Harrison becomes a modern day activist with work that takes a humorous tone yet serious approach to tackles subjects like politics, economies, propaganda, etc.  In one of her recent works, Vending Machine, the vending machine is repurposed to a vending machine that spits out snacks as a reaction to real time news headlines about the current recession.   Harrison, who is based in UK has places vending machines all over London that are reprogrammed and wired to a hidden computer which analyses real time rss feeds coming BBC, every time a headline about the recession comes on or is mentioned the vending machines begin to spit out snacks at the people around. 

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fly tweet

In fly tweet David Bowen uses cutting edge technology and popular social networking sites to enable household flies to be content producers just like the humans that live around them.  The simulated environment is self sustaining and is equiped with full emenities so that the flies can live,thrive and produce energy that gets transmited into twitter messages that are then posted in real time.  The environment is equiped with motionsensor technology, transmitters and other technology that allows for the movements of the flies over the keyboad to be detected and recorded as typed text on twitter.  The cheracters acummulate untill the 140 cheracter capacity is reached or the flies activate the enter key, at which point the message gets transmited as real time news feed on twitter which is posted as a non sensicle collections of alphabetic cheracters.  Allthough amusing, this sort of inaccurate data collection along with other imperfections such as digitization errors all add to the inacurate collection of information that is accumulating in the biggest archeological database, the internet. 

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tele-present winds

David Bowen is an artist that integrates technologically advanced processing systems, transmitters, robotics and motion sensors to create extremely interesting work that concentrates on interaction between technology and natural phenomenon.  In tele-present wind the movement of a particular dried stock of plants that is caused by the wind is recorded in real time.  this movement is transmitted to the same type of plant that has been installed inside of the gallery.  Each plant is connected to its own robotic device which receives transmitted signals from the plants outside causing the wind to be recreated in real time inside the gallery.  The plants taken out of their original context look like choreographed dancers swaying to an unknown sound. 

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Panopticism is the Power Structure that Holds Flatness in Place

As powerful hierarchies, populations and modernity grew along side of the idea of Panopticism the powerful institutions gained a control measure over the spectator who developed “flatness” due to constant spectacle and uncontrollable events in public and private sectors of life.  Michel Foucault’s idea of Panopticism reveals the power structure as being “the” point of view, “...the general principle of a new political anatomy whose objects and ends are not the relations of sovereignty but the relation of discipline...a society penetrated through and through with disciplinary mechanisms ( Foucault, 10).”   This political anatomy is created by the few who hold power at the top of a hierarchy, only what is revealed by them is clear and visible to the average citizens.  Foucault’s idea of this power structure, which were originally meant for prisons, is later adapted not only into architecture but also everyday control of citizens through the use of surveillance. Now it is utilized with the use of facial recognition software to monitor activity of social networking sites. 

The power of control brought about by the idea of Panopticism can apply to Jaron Lanier’s concept of “flatness” as it relates to the dissemination of knowledge and debate between who is the teacher and the learner.  Jaques Rancier’s assertion of the spectator assumes that all spectatorship is passive and ignorant.  The average spectator is not aware of the premade choices that are made for them and they will never know what they do not question.  According to Rancier, “…the ignorant person is not the only one who does not know what he does not know; he is as well the one who ignores that he does not know and ignores how to know it.  The master is the only he who knows how to make it knowledgeable, at what time and what place, according to what protocol ( Rancier, 175).”  Within the arts, the master is the institution and the curator who controls what artists will be shown, which of that artist work will be shown publicly and privately , how it will be shown and when.  The flatness of the spectator is also perpetuated by the continuously remade conceptual works that do not always present the original content to the viewer.  If, “first-order expression is when someone presents a whole, a work that integrates its own worldview and aesthetic. Second-order expression is made of fragmentary reaction to the first-order expression (Lanier, 2).”  Then the viewer’s flatness is eternally continued as they cannot understand the meaning and context of the second-order work without knowing the meaning and context of the first-order work.   

Ranier goes on to say that the position of the passive viewer and the master can be switched; meaning that interactive engagement with art or anything else the viewer becomes the power holder.   New Media provides the platform for this switch by offering the viewer interaction with the work they view.  Whether interactive art or interactive use of social networking sites the viewer engages with active contemplation, questioning of facts and critical and informed manipulation of presented material.  In this way the viewer holds the power over the institution and the curator on some level, but never fully due to the fact the that, “ the student learns something as an affect of the masters mastery.  But he does not learn his masters knowledge (Rancier, 277).”    

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Vinyl Letter and Paper on Wood Panel

476 Letter total

We shall not be compared to other artists, past and present!

We shall not be underestimated, devalued or ignored!

We shall be accepted into the art world by all institutions!

We shall make art that will enter a discourse, a conversation, and will leave an impression!

We shall not be pressured to make “good art” but art that is relevant!

We shall use all materials available to us! Old and new materials!

We as artists must constantly and consistently push to reinvent the medium, the materials that make a statement!

Galleries, Museums and other Art Institutions must not protect art behind four walls and invitation only functions, but should bring the art to the people!!

Bring it to the people, use the Internet as a vehicle for not only advertising of art but as a showcase of art. Curate your sites with things to see, more people will be engaged and appreciation for the arts will grow!!!!

http://www.scribd.com/sasgary/d/59841820-Allan-Kaprow-Manifesto  

http://net-art.org/

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Vinyl Letters and Paper on Wood Panel

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Vinyl Letters and Paper on Wood Panel

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Vinyl Letters and Parer on Wood Panel

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New Media as the Avante-Garde for the 21st Century

The timeline of events that led to the materialization of new media and its manifestation around the world provides a taxonomy, and in a way a justification for what New Media Art is, what it does, what it can do now in the future, and why it can be considered art. If New Media is the Avante-Garde of the twentieth century then anything that is based on a certain creative aesthetic derived from such media could be considered art.   

The world of new media art began with the invention of the camera and the industrial revolution.  With mass production, technology and new possibilities a new kind of thinking took place around d the world.   Without the need for realism artists began thinking more conceptually and reacting these thoughts with new and spontaneous types of art.  Marcell Duchamp is thought of as the father of conceptual thinking and creation with in the world of art, including that of New Media Art.  Duchamp worked with other visionary artist in the field of music, dance and technology such as Merce Cunningham and John Cage in a time of new possibilities along with scholars of science, engineering, technology, philosophy and true visionaries such as Seymore Papert, Marchall McLuhan and Vannevar Bush who contributed to the conceptualization of the multitude of technological possibilities and their application in the realm of  in the military to business, to personal use and the arts.  The innovations of these visionaries and many others are the components which enabled New Media to exist as we know it today, and are what has presented New Media the option of taking so many diverse forms in today’s working definition of this new medium.   

 The term New Media Art is still relatively new and is somewhat vague.  The creators and innovators working within these areas have a wide range of options in terms of application of New Media technology and New Media Design.   In Japan engineers and scientists collaborate with designers to create New Media application in the field of Artificial intelligence.  In the United states artists like Golan Levin  who create interactive art which engages computer science, components of modern technology and engineering are leading their field.   All around, New media is flexible and easily malleable to accommodate the needs of any modern creative process, including but not limited to the world of business, art, computer science and the creation of just about any kind of modern device, the entertainment world, and the lives of everyday citizens.   Within the world of business and art  it is the institutions that are most engaged with New Media that are the most relevant in their research, are most engaged with cutting edge creation and conversation and in turn are the most well funded and most recognized.   The gallery is at the forefront of this New Media revolution, whether a physical gallery where one has to travel to see cutting edge work with in the new media field or an online gallery such as tumbler, it is up to the artist, the curator and the institution to showcase the new medium that is loosely described as new media Art.    

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This unexpected peculiarity was found in a book titled, Repertoire Du Theatre, here we see the digitization process has captured some text that does not belong on the page.  The text is either showing through from the other side of the page or could have been layer from a different page, however it is illegible and clearly does not belong. There is also visible discoloration on the bottom of the page.   

http://books.google.com/books?id=IWE7AAAAcAAJ&pg=PA471&dq=subject:%22theater%22&hl=en&ei=561_T6zpEIXm2AW74cSRBw&sa=X&oi=book_result&ct=book-thumbnail&resnum=1&ved=0CDQQ6wEwADgy#v=onepage&q=subject%3A%22theater%22&f=false

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Still image from WOW, a series of performances based on World of War Craft online gaming environment.

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Text based performative work from I Object series.

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