today’s node in the intro course is net.art. for me this in one of the most exciting and conceptually challenging areas of the electronic arts. perhaps the most influential critical author on networked art and cultures so far has been geert lovink. his book dark fiber is like a guidebook for many net artists. i also think that paul’s treatment of net.art in our course text is quite excellent. another good source is rachel greene’s “a short history of internet art” as well as mark amerika’s “how to be an internet artist.” s0, perhaps s0me0ne in the intr0 c0urse is g0ing to build their final pr0ject on the net? check out the net.art links for more info and resources. if you’re conceptually skilled you can find a way to make a work of net.art without buying hosting and working in dreamweaver. if you need hosting and a domain (crucial!) try bluehost or broadpsire. check out one of my favorite works of net.art here and here.
Archive for October, 2007
this week’s node in the intro course is sound art. this genre has many origins and that makes it difficult to point students in any one direction. but certainly the influence of john cage, whether or not he considered his work “art” or “music,” is omnipresent for contemporary sonic artists. a good place to start poking around in this area is the sonic arts network. also check out the ccmixter. an excellent book about the influence of sonic culture on contemporary art has been written by djspooky, who is also one of new media’s most sought after contemporary artists. one monumental contribution to digital art from sound art is midi (musical instrument digital interface), which allows artists to hook up peripherals to computers for live performance. since midi is such a successful translation, just about anything can get hooked into a computer for real time interaction. take a look at pure data and max msp. if you’re into it, check out the links in the sonic section.
video art is in many ways the contemporary precursor to the digital arts (and of course in many ways it isn’t!), and i see video art as a basic skill that all contemporary artists should have-its fundamental to everything we do. today we will look at some early video art and consider the foundations that influenced contemporary video discourse. video has always been a very complete medium-a video camera can capture sound and video together very nicely. notice that important and influential video artists such as gary hill, bill viola, and shirin neshat all make video art with incredible sound that is most often captured by the camera itself. i cannot overemphasize the importance of the audio half of your video art work. think of the video cam as a circuit for electronic capture-not just as a viewfinder. a good place to start mapping out your own video art influences is the video data bank-its a very comprehensive archive of video artists and their work. today video remains a very complete medium and despite the doomsday predictions of many critics (video is dead or dying because of new media), it has adpated and grown with todays technologies. video art is now made with mobile phones and other wearable, locative media (i like to say “micro video”) and is also completely networked (ex. youtube). just take a look at the perpetual art machine. in august of 2006 i was an artist in residence at the santa fe art institute where i had the privilege of hanging out with one of the best young video artists working today, anri sala. in one of our converstations about video art sala told me these things about my work and i want to share them with you now because they are such useful comments and i think they could be used by my students to build some good video art. you can ignore them if you want, but just consider that anri sala has been in the venice biennale and documenta.
“film the event as another event.
it is important to clearly create a reality, make the film feel like film.
documentation should be thought out just as much.
performance has no framing.
what is off the frame and what is in the frame?
trying to please us too much.
locate the energy elsewhere.
idea of the video as an icon.
duration becomes part of it.
duration as one of the main qualities of the moving image.
thinking about framing with a photograph.
how would you shoot a photograph?
shoot video like you are taking a picture.
question the way you frame something.
make choices before you film.
you have to set the premises.
first you have to have an angle.
how are you going to connect them together?
have a conviction about how you see things.
what is your way of looking?
the image and the space of the camera cannot be separated.
sound is an installation in your video.”
anri sala, august 2006, santa fe art institute
We made it through the midterm (in the intro course) and now we are moving into the second half of our semester where we will focus our attention across the broad landscape of time based media (any thing that moves). let’s begin by considering etienne marey and eadweard muybridge. these two pioneering photographers tracked objects in motion as a research practice of data visualization. in many ways, our artistic and cultural notions of time, motion and sequence owe a debt to this early research. artists in the last century seized the opportunity to work with time-based media and such efforts have in part laid the foundation for contemporary digital media arts.
this week we will consider animation as one of our themes in time, motion, sequence and hyperlink (network?). future topics will include video art, video games, performance art, net art, sound art, and tactical media. animation has always existed at the margins of the worlds of art and cinema. christiane paul (the author of our text) writes that “animation is one of the genres that most resists classification. it has continuously merged disciplines and techniques and still exists at the border of the entertainment industry and the art world. exactly how far animation can and should be considered an art form remains a topic of debate, but it is certainly now more frequently incorporated in exhibitions” (110). today we will look at one of contemporary art’s best animators-william kentridge. since we make a concerted effort in our class to consider the notion of digital media both inside and outside the world of art, careful thought should be given to animation’s current ubiquitousness in contemporary digital culture. in one sense, everything animates today-from flash players on the net to the lcd display on your car stereo or mp3 player, animation is a fundamental component of interface, which itself is inextricably linked to current digital networks. we could ask c. paul the question, “is animation really at the fringe of anything?” your thoughts on animation are appreciated in this course. one thing is certain, animation is a language that we all speak. a good example would be the animation “hope” for the nelson mandela foundation by alfredo jaar.
i’m not an animator, but i’ve started a collection of links to various resources for students who are interested in animation. one good option for simple animation technique is the open source application pixen.
here are some recent calls that are very exciting and should also provide some insight into the ways that new media is currently being curated.October 8, 2007
Colleagues:CFP: SOCIAL FABRICS – LEF Exhibition
Tags: wearables, wearable-art, wearable-technology,
http://www.socialfabrics.org (if this site is down this weekend please check back next week!!!!!)
Proposals are invited for an event-style exhibition of wearable technology art, to be held at the College Art Association 2008 Annual Meeting in Dallas, Texas, sponsored by the Leonardo Education Forum.
Social Fabrics will explore artists’ creative deployments of mobile, socially interconnective media as wearable attire or personal accoutrements. This event-style exhibition, curated by Patrick Lichty and Susan Ryan, will demonstrate convergences between fashion as expression/statement, and the phenomenology of “network culture.” Works presented will include technological attire and accessories, as well as works that engage the implications of our contemporary media and fashion driven lifestyles.
Submitted works should be functional (not concept projects) and able to be withstand some level of demonstration by the time of the show. Designers or their representatives are expected to appear in person to present their work. The exhibition will be accompanied by a catalog listing the work and presenting a designer’s statement.
-Title of work
-Names and email addresses of all designers
-Brief description of work including
(1) How it interacts with others and/or creates or comments on the digitally enhanced social sphere;
(2) What technologies are utilized; and
(3) How it can be displayed at a modified runway style presentation; and
(4) Whether or not the artist or an agent (named) can commit to participating in the event in Dallas, Texas, on February 22.
-Photos/sketches/video of project and its presentation (if available)
-Indicate whether or not you would be willing to have visuals from your project appear on the exhibition website
Please email your submission as a single PDF (photos embedded) to:
Video can be sent separately or it can be viewed by us on a website, send URL.
Submission Deadline: October 15 midnight CST: The submissions will be committee reviewed and you will receive a notification on or before November 25.