Hazan Netart Seoul 2004

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Published on March 19, 2008

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Slide1:  Where is the gallery? Virtual museums in an age of augmented reality Susan Hazan Slide2:  Turing-land The world of computer arts, as exemplified by ISEA, Ars Electronica, SIGGRAPH art shows, etc. Lev Manovich, The Death of Computer Art [Online], 1996 [revised 2001]. Duchamp-land The art world -- galleries, major museums, prestigious art journals as in analogy with Disneyland. Slide3:  Marcel Duchamp 1887-1968 French-born American Artist Dadaist Surrealist Conceptual Ready-mades Fountain, 1917 Bicycle Wheel. 1951 (third version, after lost original of 1913) Slide4:  Alan Turing Cryptographer, mathematician, and founder of computer science, who invented a concept of a type of computer, called a "Turing Machine” presented in a paper in 1936-7. A function is computable if a Turing machine can compute it. Slide5:  DIGITAL CREATIVITY (viii) cultural centers and other entities that facilitate the preservation, continuation and management of tangible or intangible heritage resources (living heritage and digital creative activity) - Slide6:  <intangible.net.art> Web-based applications Copyright Net real estate web architecture Curatorial methodology Vocabularies Conservation and documentation Institutional affiliations Authentication and validation... Slide7:  "Interactivity, Connectivity, Computability". Steve Dietz "interactivity and generativity, connectivity and multimediality" Susanne Jaschko - TRANSMEDIALE.DE "moving electrons" Johannes E Goebel - ZKM Karlsruhe "A time and process-based media and practice, existing in distributable formats, freed from the need to be presented in physical venues". Lucy Kimbell – New Media Art, 2004 Slide8:  A time and process-based media and practice, existing in distributable formats, freed from the need to be presented in physical venues. Lucy Kimbell – New Media Art, 2004 Slide9:  performance - icons - text - browsers - spam-art - e-mail - software - code - algorithms - video - audio websites - cell phones - discourse - CD/DVD - performance - chat - SMS - PDA’s - e-mail - proprietary software home - schools - galleries - web-zines – festivals - competitions – media centres - conferences - discussions lists Production Distribution Consumption Slide10:  Contemporary semiotics - Encoding/Decoding – Stuart Hall, 1980 Slide11:  Mutual consensus Intent - artistic production Recognition - artistic consumption Processes of Authentication and Validation Slide12:  Production Slide13:  In 1954, Princeton researchers created the first computer graphic, and consequently, the very first pixel. 2004 marks the pixel's 50th birthday, and pixelgala.org intends to celebrate. http://www.pixelgala.org/ Slide14:  Douglas Davis - The World's First Collaborative Sentence How to Join in Making the World's First Collaborative Sentence WRITE, PERFORM, OR SING ANYTHING YOU WISH TO ADD IN WHATEVER LANGUAGE YOU LOVE TO THIS COLLABORATIVE WORK, JOINING HANDS AND MINDS WITH YOUR SISTERS AND BROTHERS OF WHATEVER RACE, REGION, OR BELIEF ANYWHERE IN THE WORLD.... http://ca80.lehman.cuny.edu/davis/writesentence.html Slide15:  Unveiled on December 7, 1994 1995 - Kwangju Biennale,Korea 1995 - School of Visual Arts' "Digital Salon" internationally tour 1999 - Zentrum fur Kunst und Medientechnologie (ZKM),Karlsruhe, Germany "net.condition" Douglas Davis - The World's First Collaborative Sentence Slide17:  Dr. Hugo's Fuzzy Dreamz is a net art project in progress (online since 1996). It's a journey into night time states of mind. In the beginning was the dreaming. In dreams we cross the borders of time and space. Time and timing is the medium of life. In a series of net films, the performer/viewer creates his personal dream scenario by . . . choosing a star. http://www.doctorhugo.org/dreamz/index.html Slide18:  http://www.grammatron.com/index2.html   The GRAMMATRON project is a "public domain narrative environment" developed by virtual artist Mark Amerika in conjunction with the Brown University Graduate Creative Writing Program and the National Science Foundation's (NSF) Graphics and Visualization Center Launched - 1997 Ars Electronica "Fleshfactor" Festival Linz, Austria GRAMMATRON has been exhibited at over 40 international venues Ars Electronica Festival International Symposium of Electronic Art SIGGRAPH 98 "Beyond Interface" Adelaide Arts Festival "FOLDBACK" show in South Australia Virtual Worlds conference in Paris International Biennial of Film and Architecture in Graz Slide19:  1995 We Have No Free Will 1996 Two dolls, wooden shelf steel rods, video projection 186,5 x 33,5 x 48,5 cm Courtesy Lisson Gallery, London Tony Oursler 1994 "Getaway #2" Slide20:  Flucht: A Video-Sound-Installation - 27.8 – 28.8.2001 Tony Oursler Slide21:  American, born in 1957 Tony Oursler Slide22:  Tony Oursler Joy Ride TM, 1988 Slide23:  How To Be An Internet Artist Mark Amerika   Create a fictional identity. Begin the branding process by turning this fictional identity into your domain name. Register your domain name and set up an account with an Internet service provider (ISP). Build a site-specific narrative mythology out of bits of data and then use the ISP to distribute this data to the niche markets that are waiting to form (digitally converge). Develop unobtrusive e-commerce solutions that will enable your niche market to electronically purchase the products of your labor. While continuing to build brand-name identity, do anything within your power to produce revenues that can easily be attributed to the success of your site-specific narrative mythology. Reinvest all of the revenues you generate back into the research and development of your site-specific narrative mythology (as distributed from your fictional domain). Use highly subversive marketing skills to attract attention to the fact that you are producing income from your narratological presence, and successfully transform that attention into its own media-virus or cultural meme that solidifies your brand-name as one of the industry leaders. Achieve all of the previous eight goals in less time than it takes to develop a passionate sexual relationship with someone you love. 10. Launch your IPO. http://www.altx.com/amerika.online/amerika.online.5.7.html Slide24:  Distribution Slide25:  Marcel Duchamp Four Postcards 1916 Slide26:  Telephone Picture EM 2 [Telephonbild]. (1922) Porcelain enamel on steel, 18 3/4 x 11 7/8" (47.5 x 30.1 cm) The Museum of Modern Art, László Moholy-Nagy Constructivist Slide29:  net.flag -- A flag for the internet http://www.potatoland.org/ Mark Napier - concept, design and java programming Liza Sabater - editor, research Josep Arimany Piella - research assistant Zach Lieberman - java programming net.flag was commissioned by the Solomon R. Guggenheim Museum for acquisition into their permanent collection. Slide30:  Virtual Quilt Constructors    Prime mover, concept, design, & research: Nancy Buchanan  Virtual Quilt Maker programming & development: Doug Goodwin  Web site design: Judith Spiegel Slide31:  http://www.sleepsecure.org/index_flash.html Virtual Quilt    Slide32:  Consumption Slide34:  Date : September 4 ~ October 10, 2002 Wireless Art Project 1 <Watch Out!> Place : Art Center Nabi, Korea 'Watch Out!' is an experimental artwork for sharing one another's thoughts using new ways of communicating such as wireless technology and the internet. 'Watch Out!' is displayed at Art Center Nabi and on the street in front of three branches of TTL Zones in order to characterize the mobility of wireless technology. The participants communicate by sending SMS message or emails on the website www.watch-out.net. These messages are displayed on the monitor in the box on the street. 'Watch Out!', as a communicating window, connects people and makes them share their thoughts. The eyes looking inside of the box are projected onto the screen facing the street. The eyes thus look outside to the World. Slide36:  They're coming! You are looking in a box. No, it is not in here! Yes, I'm in a box. What about you? Don't look at me that way. Somebody is watching you! Are you sure you turned off the stove? Slide37:  The Webby Awards Categories - http://www.webbyawards.com Activism Best Practices Broadband Commerce Community Education Fashion Film Finance Games Government & Law Health Humor Living Music NetArt News Personal Web Site Politics Print & Zines Radio Science Services Spirituality Sports Technical Achievement Travel TV Weird Youth AWARDS Slide38:  ACCESS lets you track anonymous individuals in public places, by pursuing them with a robotic spotlight and acoustic beam system. ACCESS presents control tools generated by the surveillance technology combined with the advertising and Hollywood industries, and the internet. beware. Some individuals may not like the idea of being under surveillance. beware. Some individuals may love the attention. Access Ars Electronica 2003 Linz, Austria http://crescent.cat.nyu.edu/access/showflashvideo.asp?movieid=access_ars&movietitle=access_ars WEBBY AWARDS Slide39:  Gravity - 2004 Dragan Espenschied Art.Teleportacia artist in residence and his the People's Voice at Webby Awards. WEBBY AWARDS http://art.teleportacia.org/exhibition/GRAVITY Slide40:  http://www.aec.at/en/index.asp AWARDS Ars Electronica – Linz, Austria Slide41:  Prix Ars Electronica - seven Golden Nicas Categories: Digital Communities Wikipedia (USA) The World Starts With Me (Netherlands / Uganda): Computeranimation/Visual Effects Chris Landreth (Canada): "Ryan" Digital Musics Thomas Köner (Germany): "Banlieue du Vide" Interactive Art Mark Hansen, Ben Rubin (USA): "Listening Post?" u 19 - freestyle computing Thomas Winkler (Austria): "GPS::Tron" Net Vision Creative Commons (Venezuela / USA): www.creativecommons.org AWARDS Slide42:  List Visual Arts Center, Cambridge, Mass. Feb. 5th - Apr. 4th, 2004 Whitney Museum of American Art, New York Dec. 17th, 2002 - Mar. 9th, 2003 Listening Post is an art installation that culls text fragments in real time from thousands of unrestricted Internet chat rooms, bulletin boards and other public forums. The texts are read (or sung) by a voice synthesizer, and simultaneously displayed across a suspended grid of more than two hundred small electronic screens. Whitney Museum of American Art December, 2002 Photo by David Allison LISTENING POST Mark Hansen and Ben Rubin AWARDS Slide43:  ISEA - Inter-Society for the Electronic Arts – The Netherlands www.isea-web.org/ Slide44:  http://www.transmediale.de/page/whatis/home.0.1.html AWARDS Transmedia - Germany Slide45:  http://on1.zkm.de/zkm/e/ Center for Art and Media Karlsruhe As a cultural institution, the Center for Art and Media (ZKM) in Karlsruhe combines production and research, exhibitions and events, coordination and documentation. Museum for Contemporary Art Media Museum Institute for Visual Media Institute for Music and Acoustics Institute for Basic Research Institute for Media and Economics. Slide46:  1999 zkm | zentrum für kunst und medientechnologie http://on1.zkm.de/netcondition/projects/overview/default_e Slide47:  http://www.fondation-langlois.org/flash/e/stage.php Slide51:  http://www.museoscienza.org/english/Default.htm Slide53:  Virtual museums Museum in progress Vienna Museo Morandi Bologna Artmuseum.net The history of multimedia The Digital Art Museum London Sigmund Freud Museum Vienna Freud Museum London Museum Dr. Guislain Ghent Dr. Hugo Museums of the Mind Antwerp The Alternative Museum New York The Joseph Brodsky museum St. Petersburg The Museum of Jurassic Technology Los Angeles Prehistoric Art Kemerovo Nobel e-Museum Sweden Virtual Colour Museum Zurich Slide56:  http://www.alternativemuseum.org/ Slide60:  Our planet's rain forests - rich matrices of life which exist primarily in tropical regions - provide us with unique opportunity to observe life in all of its manifold and perplexing beauty. Most rain forests date back some two to three hundred million years. This extreme age has allowed many unusual and complex relationships to develop among the inhabitants of these tropical ecosystems.   In the rain forest of the Cameroon in West Central Africa lives a floor dwelling ant known as Megaloponera foetens, or more commonly, the stink ant. This large ant - one of the very few to produce a cry audible to the human ear - lives by foraging for food among the fallen leaves and undergrowth of the extraordinarily rich rain forest floor. On occasion one of these ants, while looking for food is infected by inhaling a microscopic spore from a fungus of the genus Tomentella. After being inhaled, the spore seats in the ant's tiny brain and begins to grow, causing changes in the ant's patterns of behavior. The Ant appears troubled and confused; for the first time in its life the ant leaves the forest floor and begins to climb.   Driven on by the growth of the fungus, the ant embarks on a long and exhaustive climb. Completely spent and having reached a prescribed height, the ant impales the plant with its mandibles. Thus affixed, the ant waits to die. Ants that have met their ends in this fashion are quite common in some sections of the forest.   The fungus continues to consume first the nerve cells and finally all the soft tissue that remains of the ant. After approximately two weeks a spike appears from what had been the head of the ant. This spike is about an inch and a half in length and has a bright orange tip heavy with spores which rain down onto the rain forest floor for other unsuspecting ants to inhale. MEGOLAPONERA FOETENS STINK ANT OF THE CAMEROON OF WEST CENTRAL AFRICA Slide61:  http://www.tate.org.uk/space/spaceart.htm Slide62:  Space Art Introduction Against Gravitropism: Art and the Joys of Levitation Space Art Links Introduction While there are many artworks that refer to space, few artists have so far investigated space directly as a unique context for the creation and installation of work. Tate in Space is attempting to redress this as an intrinsic part of its future programme, exploring the potential for artists residencies, sci-art collaborations and new commissions in addition to developing imaginative and appropriate ways in which Tate in Space may accomodate existing works from Tate's collection. Part of the research focuses on a practical investigation into issues of conservation in a zero gravity, confined and nonrenewable atmospheric environment. What happens to a sculpture such as Richard Serra's Trip Hammer (1988) when denied of the gravity that holds it in place? How might this environment change the nature of works such as Cornelia Parker's Cold Dark Matter: An Exploded View  (1991)? Slide63:  http:// www. musesphere .com / ICOM

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