New Media Art Musem
1. The new media museum should not discriminate any type of art and should be available to the general public free of charge through the internet.
2. Interactive artwork is the main goal of this museum because it is important to experience the artwork through active manipulation.
3. New media art should be focused on how technology can be utilized to enhance and transform old artwork into new computerized or digitalized data.
4. New media artwork should be enjoyable, simple, and easy to use for all ages. It is important to highlight the fun and satisfying aspect of art.
5. Because New Media artwork is so new and innovative, sharing new media art is necessary in populating and educating others about it.
6. Comments and blogs should be a focus in New Media art museums because feedback is an important component for advancing artwork.
7. New Media artwork should aim to possess artwork that utilizes all the human senses such as touch, sound, visuals and feelings too.
8. The New Media museum should be a place where people can spend their leisure time, to release stress, to enjoy, and find inspiration for their own artwork.
9. Although New Media art museums should focus on the readiness of a click of a mouse, it should also display art installations that are too massive or cannot be experienced.
10. Art installations that are featured in the New Media Art Museum should be highly interactive and display works that incorporate the audience’s own power to manipulate the artwork.
Ruins of Light-1992
An interactive public artwork that consists of four 12-foot high stainless steel towers that each enclose five video monitors that displayed Roman or Greek style columns that were also contained in the stainless steel enclosures. It was installed at the America West Sports Arena in Phoenix, Arizona for ten years and incorporated certain images at certain times of the day and can be also function as a tyoe of clock. The architecture of the artwork made it seem as if it was a part of the structural support of the building itself. The artwork features six live cameras, 600 still images, and 30 minute motion video of people who were present at the venue.
Leviathans- Phil Ross
captured at SymbioticA in 2007
Editing was done by Marcella Faustini. Scott Arford created and produced the soundtrack.
Through an 8 minute long video, “Leviathans is a video of the slime-mold Physarum polycephalum. The slime-mold, though diminutive in size, is able to travel relatively large distances in a short period of time while searching for food”. Accompanied by astrological background sounds, the video pictures a pulsating bacteria-like life form that grows and expands. The manipulation on light is also being used so that viewers can see what is happening within the living body. The organism reminds us of how our own organs and bodies work, growing, and rhythmically moving. The artist is interested in capturing what is biologically natural and systematic growth of the slime-mold.
Unstoppable Hum, 2-2000
The Unstoppable, Hum is made by artist Sabrina Raaf who is interested in the electro-mechanic activity that is present in the 20th century living environment. Electro-mechanic activity is everywhere yet, we are not aware of the unapparent hum that everyday electronic devices such as refrigerators, television sets, and computers give off. They merely act as a “background noise” that we are so used to hearing but do not notice. This generative artwork helps viewers listen to the electro-mechanic activity that surrounds us by connecting a sensitive microphone to microprocessor circuits. The circuits picks up sounds from automatic doors, security systems, and telephone systems. Voices and footsteps are also picked up by the circuits. As the device picks up these interesting sounds, it emits an unusual, yet original musical sound. This interactive quality of the artwork les viewers manipulate the sound that the device can make.
New Media Art and the Gallery in the Digital Age by Charlie Gere discusses the origins of New Media art and how the importance of the gallery is essential in displaying it to the rest of the world. He first gives us an overview of how digital media has developed since its appearance in the 1950s. Lev Manovich’s second proposition proposes that “New Media as Computer Technology used as a Distribution Platform”. For example, many of today’s popular music involving the synthesizing of electronic devices were already being explored during the 1950’s. As discussed in Gere’s essay, innovative technological advances after World War II generated the sophistication of electronics and multimedia in the art world. The 1950s sparked a cultural phenomenon when one of the first electronic artworks was being made with computer-generated music (Gere, 2008). In realization, hyperlinks is also an old concept that has been modified culturally introduced. Many encyclopedias, articles, and books have a “Glossary” section in which readers are able to look for key terms that are unfamiliar to the reader. Giving the reader more interaction and ability to expand understanding the material, hyperlinks help connect new ideas and promote an active way of learning. In a sense, hyperlinks act as an advanced encyclopedia linking definitions to unknown vocabulary or concepts through a click of a mouse. According to Manovich’s sixth proposition, “New Media as Faster Execution of Algorithms Previously Executed Manually or Through Other Technologies”, hyperlinks have transformed the way conventional essays and articles are read and distributed. New terms and ideas can be viewed almost instantaneously in comparison to the time-consuming research of a particular new subject. Proposition 8 “New Media as Parrallel Articulation of Similar Ideas in Post WWII Art and Modern Computing” is also talked about in Gere’s discussion of the emergence of kinetic art (Gere, 2008). . This point was very interesting to me because the fact that movement was already appealed as a contemporary at technique during the post-World War II era is a great surprise. Gere attempts to point out that many contemporary art ideas have already been discovered in the past yet has never reached its ideal popularity or entrance into art conventions. It is apparent that kinetic art is still currently viewed as something widely new and different to the public. I kindly disagree with Gere’s argument about the importance of the gallery as a vehicle of making New Media Art visible. The reliability on the traditional gallery is diminishing in today’s world since the avalibility of information and the internet. The internet in a sense, acts as a “new gallery” that displays various types of new media art accessible to everyone around the world.
Line Up (after Trisha), 2010
Judgment (after Memling), 2008
Modified Computer Game, Custom Computer
According to Eva and Franco Mattes, Brody Condon explores the depiction of violence in digital games and collective experience. Born in Mexico in 1974, Brody Condon is a contemporary New York artist who features performance art, sculptures, and videos associated with the aftermath of “trauma and the over-identification with fantasy in contemporary culture” http://en.wikipedia.org/wiki/Brody_Condon. He graduated with a Master’s in Fine Arts from the University of California, San Diego in 2002 and has since been involved in numerous scultural installations and art performances. He is also finds inspiration through his depictions of computer games through his creative art performances. LARP (Live Action Role Playing) is a game where players in the game physically act as characters in a fictional setting. Some of Condon’s most well known works include an 8-hr long video performance including 17 people who are expected to move and follow the artist’s rules and made-up setting. Line Up (after Trisha), 2010, was held atLACMA on April 28th from noon to 8:00pm. Condon’s animated recreation called Youth of the Apocalypse Series, 2006-2008 are non-interactive and display cartoon-like characters who easily resemble those of European Late Medieval Paintings. Judgment (after Memling), 2008 features the Judgement scene through computer game development technology.
Original: Nuremburg and its art to the end of the 18th century 1905 Harvard University
By Paul Johannes Rée