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New Media Art > Lectures 1 - 5 > Flashcards

Lectures 1 - 5 Flashcards

1
Q

Semiotics

A

study of signs & symbols and their use of interpretation - creating & communicating meaning

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2
Q

Signs

A

anything that passes meaning to the receiver - or emotions, signs can communicate feeling

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3
Q

“The Medium is the Message”

A

how you send a message says more than the message itself - Media is a bridge vs media is a wall

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4
Q

Vito Acconci “Claim” 1971

A

man sitting at the bottom of stairs with a bat - about how you’re separated from danger through media - reality vs media - the staircase is technically the art
- He is king when you are down there, but a clown when you are only watching

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5
Q

Media is the thing between us.

A

It is a tool to pass a message. The thing between us is a bridge and a wall.

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6
Q

The Artist is Present - Marina Abramovic

A

the artist is literally there, and thats the art - media-less art

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7
Q

Technology

A

using scientific discoveries for practical or creative purposes in our life

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8
Q

HK Arts Tech - Tech in Art

A

applying technology (such as virtual reality,
extended reality, real-time animation, etc.) in
artistic creation to enhance the content and
delivery of artistic creation, support the success of arts and deepen audience engagement and experience.

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9
Q

Vantablack

A

Anish Kappor, 2018 - He owns a color

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10
Q

Chromism

A

a reversible change in color (can be triggered by: light, heat, pressure, friction electricity, etc.)

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11
Q

The Moving Image: Persistence of Vision

A

Slowness of human brain interprets still images as moving

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12
Q

Stereoscope

A

a device for looking at a couple of seperate, stereoscopic images, left and right eye view of the same image –> creates a three dimensional image

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13
Q

Optical Toys

A

Our eyes and ears don’t mirror reality truthfully - the mind creates the reality (optical illusions) - being “fooled”
is fun!

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14
Q

Media Archeology

A

a study of how older media were used to better understand the roles of today’s ‘new’ media

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15
Q

Etienne Marey - Chronophotography 186

A

synchronized cameras, movement studies

capturing movement with a single camera - First ‘motion capture’ system - basically took pictures of people performing action and layered them on top of each other

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16
Q

Marcel Duchamp 1912 - “Nude Descending a Staircase, #2”

A

Cubism, taking this same idea from chronophotography and just painting it

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17
Q

Cubism

A

Losing the single viewpoint of perspective space

Machines are cool new way of seeing

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18
Q

Surrealism

A

focus on the wild imagination of the human mind

Salvador Dali - “The Persistence of Memory”, 1931

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19
Q

Dadaism

A

modern times are dangerous and need to be critiqued

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20
Q
A
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21
Q

John Heartfield - Propganda posters

“Hurrah the Butter is Gone!”, 1935

“Superman Adolf”

A

the ‘other’ first media artist: his media: political propaganda poster

Take down nazi posters, change them a little, put them back up

“We regarded ourselves as engineers, and our work as construction.”

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22
Q

Fernand Leger - “Le Ballet Macanique”, 1925

A

Our bodies are like machines - basically a short film of a comparison between human actions and machine movement

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23
Q

Photomontage

A

a collage constructed of unconnected images

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24
Q

Heemskerk and Paesmans - “Jodi.org”, 1995

A

web-based artwork - intricate designs made in basic HTML

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25
Q

Tamas Waliczky - “Imaginary Cameras”, 2016/2018

A

argued that the camera itself changes the image - Calling out the assumption that photographs are changing how we look at things

Series of invented picture-recording machines that take strange view of the world

Instead of “cameras change the world”, inventor’s vision decides the kinds of images a camera takes first

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26
Q

“Earthrise” - Apollo 8 Mission, 1968

A

first picture of the earth from space

Cued environmentalism for people & environmentalist movement

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27
Q
A
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28
Q

Art+Com - “Terravision”, 1994

A

The first ‘google earth’ - 3D map of the planet - overlapped on textures

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29
Q

Charles & Ray Eames - “The Powers of Ten”, 1977

A

intended to explain scale to scientists and engineers

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30
Q

Nam June Paik - “Magnet TV”, 1965

A

Fluxus, interactive TV with a magnet - you can move the magnet and change the image on the screen - interactive readymade

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31
Q

Ant Farm - “Media Burn”, 1974

A

Car literally powering through TVs and creating an explosion - hatred for certain new media

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32
Q

Bruce Nauman - “Video Corridor”, 1968

A

cameras make it so you get smaller on the screen as you get closer to it

Less important, smaller, taking away your identity, forced path

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33
Q

Analog vs digital?

A

Analog (continuous flow - smooth transmission) vs Digital (incremental steps, binary code, always a gap)

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34
Q

Ei Wada - “Flying Records”, 2014

A

balloons floating in a church, connected to old tv records, when they rewind, the balloons go down

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35
Q

Does new media make old media obsolete?

A

“Photography did not kill painting, film did not kill photography, video did not kill film, but did the computer kill video? New media do not make old media obsolete… they assign them other places in the system.” - Friedrich Kittler

no, they get assigned other places in the system

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36
Q

Marcel Duchamp - “The Bicycle Wheel”, 1913

A

a “readymade” - an object that existed before and is now given new meaning, purpose, and status

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37
Q

Readymade

A

Ordinary manufactured objects
presented as works of art.

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38
Q

Marcel Duchamp - “Rotary Demisphere”, 1925

A

a machine that creates 3D (a little swirly thing) - basically worhtless in its time, but worth tons now, he saw the future of art

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39
Q

Marcel Duchamp predicts the future…

A
  • Machines in art
  • Optical illusion in art
  • Interaction and tactility in art
  • Changing the relationship between viewer and artwork
  • Viewer CREATES the art
  • Art as a commodity, bought & sold
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40
Q

Constructivism

A

“Not the old, not the new, but the necessary.” - Vadimir Tatlin

Emphases on materials and construction

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41
Q

Ideas of Constructivism

A
  • Artist = engineer
  • Artist is industrial production
  • Equality: artist is a worker
  • Art = design
  • Material ARE the beauty
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42
Q

Vladimir Tatlin, “Monument for the Third International” 1920

A

A moving building, kinetic, that was also a political statement

It was never made

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43
Q

Bauhaus

A

form follows function: shape is distated by its use

“honesty of construction, death to decoration”
Mies van der Rohe, director

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44
Q

“Light-Space Modulator” Laslo Maholy-Nagy 1930

A

an object that creates and reflects light in an interesting way, reference to machine and tech in the artwork - painting come to life

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45
Q

Pop Art

A

Art inspired by popular and commercial culture - ACTIVISM

Keith Haring, Andy Warhol, Roy Lichtenstein (used comics for art)

46
Q

David Rokeby, “Very Nervous System” 1988

A

as he moves, he creates music with sensors and lasers - how we view our bodies

47
Q

Technology Two Ways…

A

Technological determinism - tech creates social change

Symptomatic technology - social changes create technologies

48
Q

The Turing Machine, 1936

A

the first computer - two histories become one: automated numerical calculation and mediation of images

49
Q

John Whitney 1961

A

Motion Graphics invented using military missile tracking computers

50
Q

Spacewar! 1961

A

first computer games & first computer game with multiple users, very simplistic, required a huge computer and a ton of data

51
Q

Nine Evenings: Theatre and Engineering 1966 (Open Score, 1966)

A

Art performances start to use computers

  • Open Score - Tennis with contact mics
52
Q

E.A.T.

A

Experiments in Art & Techn, founded in 1966

Matching agency for artists and engineers, like a dating app

53
Q

Georg Nees, “Computer Sculpture” 196

A

Early 3D Printing

54
Q

Manfred Mohr, “Une esthétique programmée” 1971

A

first solo show in a museum of art entirely calculated and drawn by a digital computer

55
Q

Fluxus

A

Art is an action! get rid of everything but the process from an artwork

The audience becomes participant and
interactivity is started

Instructions introduced into art - “programming”

56
Q

Yoko Ono - “Cut Piece”, 1965

A

viewers are invited to cut away her clothes - commentary on the objectification and sexualization of women

57
Q

How did the Fluxus movement influence media art?

A

The audience becomes participant: interactive

Art can be an action: immaterial
Instructions come into art: programming

58
Q

Conceptualism

A

the idea is the only thing that matters

59
Q

Sol LeWitt, “Wall Drawing #146
1972

A

just a poem with instructions on how to create the artwork - what is the art here?

60
Q

Joseph Kosuth, “One and Three Chairs” 1965

A

Three chairs, exisitng in different ways - one is a picture, one a written description, and one is physically there

61
Q

Conceptualism influences New Media Art

A

Art as a set of instructions…programming

Escape from Materials—completely immaterial

Escape from Commodity—nothing to sell

62
Q

POSTMODERNISM

A

art is a critical investigation

If everything is changing, all we can do is explore.

63
Q

Eduardo Kac, “GFP Bunny” 2000

A

Genetically altered money that glows in the dark

The art is: the rabbit, the dialogue it creates, and the rabbit in relation to other rabits (social integration)

64
Q

Samson Young, “Liquid Borders” 2014

A

sound compositions between HK & China

sound comp, graphical notation, photos, maps

65
Q

KAWS (Brian Donnelly) - “Companions”, 2020

A

grafitti –> toys –> inflatables –> augmented reality

66
Q

Dematerialization in Art

A

“We’ve always talked about dematerialized aspects of art, since the birth of conceptual art, and AR really is an extreme example of this, where you can do global things that are not material but still visually overwhelming.”

Daniel Birnbaum,
Artistic Director
Acute Art

67
Q

George E. P. Box, 1970’s British Statistician - Models

A

“All models are wrong, but some are useful”.

68
Q

Data visualization:

A

the graphical representation of information
Visually show the numbers

69
Q

Infographics

A

information + graphics) utilize graphics
to help understand deeper meanings in the numbers.

70
Q

Information Art:

A

resenting the data using methods that
comment, critique or reinterpret the numbers. –> the numbers given feeling

71
Q

False Color

A

a data visualization technique that uses
colors different from reality to highlight information

72
Q

Lise Autogena and Josh Portway, “Most Blue Skies” 2006

A

Using global data sources to find the bluest sky - constantly finds the bluest sky and displays it on a projector

73
Q

DATA MATERIALIZATION

A

create physical 3D objects from data-informed design

74
Q

Luke Jerram, “28 Seconds of Hiroshima”

A

the sound of hiroshima bomb materialzed and created as one long metallic tube of sound

75
Q

Data Sonification

A

converting data into sounds

76
Q

Data Sculpture

A

large data materializations usually
placed in public places as artworks

77
Q

Real-time data

A

information that is collected and
delivered at the same time

78
Q

R. Buckminster Fuller - “Chronofile” 1920-1983

A

attempt at complete documentation of his own life from 1917 - 1983 - correspondence, bills, notes sketches, receipts, newspaper clippings

79
Q

“TextArc” W. Bradford Paley 2002

A

“alice in wonderland” as a database - basically a word cloud of the most common words

80
Q

Talking to the database: The Interface

A

An Interface is a translation between
independent systems (human/machine

81
Q

George Legrady, “Pockets Full of Memories” 2001

A

everyone from the public contributes an object in their possession to the database and it all accumulates

82
Q

A Timeline vs. A Stack

A

Narrative: the world is a cause and effect journey
Books, Myths, Movies…’the plot’

Database: the world is a list of connected items
Relationships…’the details’

83
Q

Database Narrative

A

Story is revealed by exploring a database
‘Search’ becomes the story…

84
Q

Ai Weiwei “Sunflower Seeds” 2011

A

a bunch of sunflower seed husks intricately hand-crafted in pporcelain

85
Q

Eduardo Kac, “Natural History of the Enigma” 2009

A

flower genetically incoded with his blood, anyone can own it

86
Q

the copy vs the simulation

A

copy: reproduced reality
simulation: false reality

87
Q

Simulation

A

a mathematical model of the real,
a new kind of representation.

88
Q

Jeffrey Shaw - “The Golden Calf”, 1994

A

a golden cow that can only be seen with a tablet on an empty pedestal - biblical reference - commentary on worshipping things we don’t interact with physical, beyond his time

89
Q

Art with no object:

A

a software
a system
an action
an experience

90
Q

Eduardo Kac, “Time Capsule” 1997

A

art as an action

implanting an animal tracker in his own ankle

91
Q

The ‘Aura’

A

Walter Benjamin
a quality in an artwork that cannot
be communicated through mechanical
or digital reproduction techniques,
That you can only experience through its actual
Presence.

92
Q

another walter benjamin quote

A

art is not complete without its time and space

‘even the most perfect reproduction of a work of art is lacking in one element: Its presence in time and space, its unique existence at the place where it happens to be.

93
Q

“The Terrible Uncertainty of the Thing Described” - Doug Hall 1987

A

news showed things completely differencty, there is a sistance between viewer and the experience - the danger is nullified

electric chairs and natural disasters on tvs

94
Q

“Sky Ladder” Cai Guo-Qiang 2015

A

a ladder made of explosives that was just really tall

95
Q

NFT

A

non-fungible token: digital asset or artwork that is guaranteed unique through the blockchain

96
Q

Four major periods in Image Value

A

Ancient Art—value in uniqueness
Age of Perspective—value in accuracy
Age of Reproduction—value in ability to distribute
Digital Age—value in ability to change

97
Q

Edward Muybridge, “The Horse in Motion” 1878

A

horse in motion, frame by frame - time was frozen, slowed, studied

98
Q

John F. Simon, Jr. “Every Icon” 1997

A

Basically creates every image, i think?? and it will take several billion years for it to be completed

99
Q

Dynamic System (quote)

A

“For the first time in history, the image is a dynamic system.”
Peter Weibel

100
Q

Jim Campbell,”Illuminated Average #1
Hitchcock’s Psycho”, 2000

A

the average picture of every image in frame in psycho

101
Q

Ant Farm, “The Eternal Frame” 1976

A

reenactment of the jfk assasination that they did over and over until they were stopped by police

102
Q

fixed object

A

there is no fixed object = there is no fixed meaning = no fixed author

103
Q

David Small, “Illuminated Manuscript” 2002

A

Anyone can re-write the United Nations Guarantee of Human Rights

104
Q

How is new media changing text?

A

Because now the reader can construct the text, it changes the roles of reader and writer

105
Q

Nick Monfort, - “Taroko Gorge” (ongoing)

A

Anyone can look out at the nature ahead and add a line of poetry and it forms one long poem.

106
Q

What is the death of photographic truth?

A

because of video and photo editing apps, people can no longer trust things they see in photos

107
Q

Mariko Mori, “Birth of a Star” 1995

A

editing photos of herself before anyone really did it

108
Q

Potential Fraud? (quote)

A

“With the end of truth in photography
comes a corresponding loss of trust.
Every image, every representation,
is now a potential fraud” (10)
Anthony Aziz

109
Q

Deepfake

A

videos where the faces are swapped useding machine-learning

110
Q

Stan Brakhage “Mothlight” 1963

A

silent short film that incorporates real world elements - used moth wings and natural elements and pressed them between splicing tape to create film

111
Q

Len Lye 1930’s “Direct Films”

A

painting and scratching the film itself

112
Q

im Campbell, “Church On Fifth Avenue”, 2001

A

shows people walking by a church after nine eleven

analog to digital
living to dead
real to immaterial

New Media Art (4 decks)

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