1; Museums of New Media Art should be explored with an open mind.
2;Museums of New Media Art will give people a wide-range to experience.
3; New Media Art is undefined and always changing; thus, everything you see in the museum may not be accepted as “new media” to a person.
4; Every visit to Museums of New Media Art will always be different in forms of what is seen, thought, and understood.
5; Museums of New Media Art will have works that are similar, but never exactly duplicated or replicated.
6; Museums of New Media Art will include a full description of works so the audience can understand its worth.
7; New Media will need the attention and, when requested, the participation of the audience to fully experience a work.
8; Museums of New Media Art will include works from various artists with various mediums.
9. Museums of New Media Art should give audiences the chance to have a new or different outlook on “new media” and everything included.
10; Museums of New Media Art should be innovative, technologically advanced, popular, well-known, and- to an extent- life changing.
Artist: Cory Arcangel
Title: Super Mario Clouds
Description: This artist specializes in video game hacking. Essentially, he stole the graphics of images in Super Mario Bros. and re-wrote the graphics. However, he decided to leave the computer chip untouched, leaving the audience to see the real clouds from the game. This image was projected on a screen where participators could feel like they were in the game as a character.
Artist: Eric J. Heller
Description: As a digital abstract artist, Heller explores such mediums as electron flows, quantum waves, ordered motion, and more. In Exponential, he makes art out of a classical electron flow launched from the upper right and indirectly hitting various bumps. They are based on the electron flow patterns for electrons riding over a bumpy landscape in a 2-dimensional electron gas, aka 2DEG.
Artist: Stephanie Maxwell
Title: Reflecting Pool
Description: This video piece combines both visual, fast-paced imagery with the sound of music and tones. In this 9 minute video, samples from saxophone tones are played, and visual blobs are reflected. They move fast, almost at hyper speed, and mimic shapes of jellyfish or amoebas.
Title: Life on a Torus
Description: Pictured is an interactive, donut-shaped 3-D object that represents the “torus.” It is a set of different (useless) ways of representing Life cellular automata upon a toroidal grid. You may interact with the torus, extrude the black squares, or grid by numbers.
Life on a Torus
From both of the readings by Lav Manovich and Charlie Gere, these texts were much more than reading and understanding. Instead, it was more of an interactive experience, and encouraged the reader to explore different paths according to whatever specific topic the authors were discussing. For example in, “New Media From Borges to HTML,” Manovich discusses commercial new media. Instead of mentioning the various new media and what they did, he created hyperlinks to help the reader grasp a deeper understanding. “yet without commercial culture we would not have computer games using Artificial Intelligence programming, network-based multimedia, including various Web plug-ins which enable distribution of music, moving images and 3-D environment over the Web, sophisticated 3-D modeling, animation and rendering tools, database-driven Web sites, CD-ROMs, DVD, and other storage formats, and most other advanced new media technologies and forms” (3). Because readers were encouraged to explore these examples, they are able to gain not only a contextual but a visual understanding of what he is trying to explain. The examples of Artificial Intelligence, 3-D modeling, and moving images have to do with the fourth point in Lev Manovich’s 8 Propositions: New Media as the aesthetics that accompanies the early stage of every new modern media and communication technology. Things like moving images and 3-D environment over the Web, 3-D modeling, and animation and rendering tools have been around in new media for a while. However, technology has continued to advance things like these and continue from its early stages and make it an aesthetic in new media.
According to Charlie Gere, “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 with his statement despite the ease of navigation from the hyperlink readings that we experienced. Although these hyperlinks led us to places that we could not physically go to, museums are essential in making art visible. It is a complete different experience looking at an art piece in the museum compared to a 2-D photo 5x5 inch photo over the Internet. In museums, you can walk around it, sometimes touch it, feel its presence next to yours, and really get the full experience. Through hyperlinks, you are simply limited to the things that the website offers you. Hyperlinks are helpful for the reader to experience places that they do not have access to, like pictures of art in China when you are the United States. But, it will always be a better experience if you can see that art yourself in museums.
Jacques Ranciere, “The Emancipated Spectator
According to Jacques Ranciere, “The Emancipated Spectator,” is a challenge. He says that spectatorship is a bad thing for two reasons when we consider that, “being a spectator means looking at a spectacle” (272). First, looking is considered the opposite of knowing. In other words, it means, “standing before an appearance without knowing the conditions which produced that appearance or the reality that lies behind it” (272). Secondly, looking is considered the opposite of acting: “he who looks at the spectacle remains motionless in his seat, lacking any power of intervention” (272). According to Ranciere being a spectator means being a passive person, which is considered a bad thing.
Jaron Lanier “The Unbearable Thinness of Flatness
In Jaron Lanier’s, “The Unbearable Thinness of Flatness,” Lanier discusses the idea of a “flat” global structure. According to him this refers to a world where when people think about ideal computers instead of real ones, it influences cultural software engineers to present a world, “in which each cultural expression is like a brand-new tiny program, free to be anything at all” (Lanier). And because of this, it suggests a pleasing world to people like software technologists, since everything is born fresh in this flat global structure. Overall, this “flatness” addresses a kind of danger that can happen if people start to believe and rely in bits too much. This is a problem because many prefer ideal computers to real ones. Ideal computers can offer infinite possibilities and allow the user to experience freedom, while real computers may trap us in messy confusing code that makes it hard for users. The thing that makes a “flat” global structure is the fact that each cultural expression would be created using the same resources as all the other ones; they would all be aligned on the same starting line. Lanier’s overall opinion of this growth toward ideal computer using and “flatness,” is that is leads to blandness and meaninglessness. The younger generation, referred as the, “Face-book generation,” is engulfed in such things like BitTorrent and new digital culture. He sees this move toward “flatness” as a problem that needs fixing.
Michel Foucalt “Discipline & Punish, Panopticism”
In Michel Foucalt’s, “Discipline & Punish, Panopticism,” Foucalt tells a story about a strict spatial partition. Here, people are under constant surveillance and attempt to escape the town leads to immediate death. On specified days they are not allowed outdoors, and only appointed people can roam the streets freely. Five or six days following the quarantine, the mission to purify each house begins. They spray perfume everywhere, and after four hours residents may re-enter their home. This story illustrates, “a compact model of the disciplinary mechanism” (2). The space is enclosed, constantly supervised, hierarchical, and individually monitored and watched. He discussed the illness of lepercy, and how all diagnosed with lepers were treated as plague victims. They were excluded and disciplined. Foucalt then draws a connection to the architectural figure in Bentham’s Panopticon. Its principles were based at the periphery that is divided into cells with a supervisor in a central tower. It was built like this to make it possible to see constantly and recognize, and had three functions: “to enclose, to deprive of light and to hide” (4).
In terms of new media art, we must consider many factors:
NEW MEDIA ART IS UNAVOIDABLE
Everywhere you go, you will find all types of new media art. What really is art? What will be the new thing in the art world? No matter what, you will find people that will define and consider almost anything to be new media art
NEW MEDIA ART IS ALWAYS CHANGING
Over time, every day people find things that are the new thing in media art. Truth is, it is always changing and we can never really stop and pinpoint what new media art is. In the Age of Instability, Arjen Mulder states that new media art is an, “Interdisciplinary collaboration between art and research [that] generates an ecology of knowledge domains in which instability can be made productive.” In other words, by collaboration, we can find new meanings of new media art.
NEW MEDIA IS DIFFERENT FOR EVERYONE
Since there is so much art around the world, how can we really tell if it is new or not? No one cannot simply learn and have knowledge of every single thing that people consider new media. So when a person first sees a media for the first time, is it still considered new if another person saw the same thing a week prior? New media is different for everyone. In addition, is it new media if someone reinvents an old one? What about if we move a certain media from one place to another? Is it “new media,” or is it old media in a new place? It might be new media for one who has seen it for the first time, but old media if someone has already seen it in its original habitat.
NEW MEDIA CAN BE SEEN EVERYWHERE
Because of technology, there are so many different ways that new media can be seen. People used to attain this by visually seeing it, and going to visit to witness it. Now, you can do the same by just the click of a button. There are virtual museums, google images, and thousands of other ways to visualize new media. However, is it the same of getting a new media experience if you see it live in person compared to on the Internet page? Can you see, smell, touch, experience the environment the new media is in if it is displayed on a 2D screen? Yes, new media can be seen everywhere, but is it the right way to see it?
Dance and Media Techologies
The Age of Instability
Pottery- George Ward Nichols