http://www.elfyourself.com/?id=1551772328
very funny=]
we can do our own work by simple steps!!
and it is also a Christmas celebration to U all=]
12.19.2007
12.14.2007
Research Paper
Subject: VIS201 – Visual Culture and Digital Media
Name: Andy Lee Pak Kwan
Student ID: 1094199
Research Paper Topic:
Discuss a number of types of digital interactive artwork, the differing roles played by the public in relation to the works
Digital art is a sort of new media art which is different from tradition media art like body art, canvas painting, and installation art. It includes the aid of using the new technology such as computer. Digital art can be purely computer-generated or using computers as a tool or as a media. The new technology allows artists a new medium to explore aesthetic. This research paper is not focused on the history background of digital art, nor the theory of digital art, but only one category of digital art, the digital interactive art.
According to David Z. Saltz, if an artwork is interactive, three things must occur in real-time. Firstly, a sensing or input device translates certain aspects of a person's behavior into digital form that a computer can understand. Secondly, the computer outputs data that are systematically related to the input (i.e., the input affects the output). And thirdly, the output data are translated back into real-world phenomena that people can perceive.[1]
Digital interactive art includes the participation of viewers. Art is no longer only a one-way expression from the artists to the public, and viewers may take parts in making the artworks. The role of the public is not simply a viewer anymore, they may affect the final works, or control the works. They may have important roles to the artworks. According to Alex Adrian, one of the executive of V2_ which is an institute for the unstable media, ‘An interactive artwork is a creative artwork including something open to public access or use, and so, the viewers’ cognitive activities achieve the action of the work, to finish the final artwork.’[2]
In this research essay, numbers of digital interactive artworks would be taken as examples to show the importance of the viewers in the works. Some are put on the internet, whereas some are installed in the street. Some include individuals to take part while some involve collaborative to participate in. Some may be local works and some can be shared all over the world through internet.
[fig.1a]
[fig.1b]
[fig.1c]
[fig.1d]
‘My Boyfriend Came Back From the War’ (fig.1a) by Olia Lialina is a simple digital interactive art. Once visitors click to different frames on a webpage, the images and the texts will be revealed. It is the public’s role to view the work themselves and on their ways. In fig.1b, internet user can choose from the picture (upper part) or the text (lower part) in middle part. If the picture (upper part) is clicked, it will be divided into two parts (fig.1c), while the text will be changed (fig.1d) if the text (lower part) is chosen first. Although the elements are never changed, the internet users would have different sequence to click their choices and read the story.
In other work, when the internet user enter the website, with the help of JAVA Scripts, pop-up windows will emerge and ask you to enter some texts, like ‘a season’ and ‘a name’. After that, a story appears in which viewers can see the information typed beforehand. Similar to the ‘My Boyfriend Came Back From the War’, the structure and the main theme of the story are never change. Internet users make the final decision to the story. The public is to finish the artwork in his or her own mind. Everyone has a unique ending.
[fig.2]
In DVD product of the movie, Final Destination 3 (fig.2), there is a feature calls ’Choose Their Fate’. It is a new interactive feature lets the audience to decide the fate of the characters.[3] A big different to the tradition movie, that the audience is only the viewer, the role of the public is now changed. Different plots are taken and became choices for the audience to choose, they can make their own story in the film!
[fig.3]
‘Procession In Crypt’ (fig.3) is an interactive processing applets based on Maurits Cornelis Escher. M.C. Escher was a Dutch graphic artist[4], he drew something illusion confusing, which were impossible to be constructed in reality. Marcello Bastéa-Forte recreated the artwork by extending the space of the original drawing to be infinity space and then shares onto the virtual world. The public browses it through the web and interact with the work. Internet users may view by different angles by simply moving the mouse. This kind of artworks is a complete work before the participation of the public, the public would just have their self-enjoyment and it would not affect others’ own enjoyment. Moreover, the role of the public is just an active viewer, the artist does not aims to have feedback from the public but just to present his respect to M.C. Escher and extend his works to share with others.
[fig.4a]
[fig.4b]
‘A-Trees’ is an electronic tree (fig.4a), which is grown on the computer desktop (fig.4b). The way the users use the computer will affect the rate of ‘carbon dioxide’ and the growth of the tree. Moreover, the stump will present how many papers a printer has consumed, as the artist describes as a ‘printer queue virus’[5]. The artist noticed us the environmental problems caused by human activities, and the role of the public is to have a better use of computer in order to plant a healthy tree on their desktop. The public has more responsibilities to the outcome of the tree. A-trees is not only an artwork, but also an educational work.
[fig.5a]
[fig.5b]
[fig.5c]
Similar to A-trees, ‘Digital Grass’ (fig.5a) is also a work enhancing our sense of protecting the environment which promotes a green society. It is a collaborative work by the public. ‘Digital Grass’ is composed of a screen, a plasma display is used in this case, and a detector. A lot of Digital Grass are installed in the streets across the United Kingdom for the Architecture Week 2007. The idea is the lush meadow of virtual grass growing over the real cityscape[6]. As people walk pass the screen, the air movement is detected, and the fresh green grass sprouts at their feet (fig.5b). The more movement captured by the screen, the more the grass grows and sways (fig.5c), covering the city in greenery. If no movement is detected, the grass begins to shrivel and turn to brown until only concrete remains. This artwork is applying the motion tracking, which uses a camera to capture the movement of the pedestrians. The role of the public is providing nutrients to the grass, the public do not need to do something special but just the same as the normal, walking on the street. That they walk pass the camera is already a sort of participated to the artwork.
[fig.6a]
[fig.6b]
[fig.6c]
[fig.6d]
Fig.6a was taken in the ITU Telecom World 2006 in Hong Kong. It is a work using a projector to show a ‘pool’ of fish and tortoises, the sensor would detect the blockage, so the public may interact with it by using their limbs, and block the activities of the animals. One of the Hong Kong artist, Hung Keung, is famous of using the aid of a sensor to create artworks. Like ‘Li-ning’ (fig.6b), and ‘Falling and Heavy Angels’ (fig.6c & 6d), the participants may drag off the patterns in ‘Li-ning’, and block the ‘raindrops’ in ‘falling and heavy angels’ by their body.
Similarly, there are two works in the Sea Jelly Spectacular inside Ocean Park, one is using the public themselves to block the movement of jellyfish, and they will change the direction when they reach the shadow on the screen. Another is the player’s body will clear the ‘greasiness’ and the clear view of the marine lives will be appeared. This kind of technology is common to install in the public places, like shopping centre and stations, and the variety of the theme shown is wider too, like a football match, car-racing, both are controlled by the players to kick the ball or run the car with the body movements and the sensor detection.
The artworks are nothing special until the public to get between, the works become more funny and specific, because different people would bring different effects to the works.
[fig.7a]
[fig.7b]
‘Body movies’ (fig.7a) is a shadow play artwork installed in the public space, it is an interactive projection with giant portraits that are revealed inside the shadows of passers-by[7]. It was first installed by V2_ in Rotterdam, Holland, in 2002. And it was installed in Tsim Sha Tsui, Hong Kong, in 2006 (fig.7b). The role of the public is an important factor to the work, it has different effect in every particular second as it is a collaborative work by the public. There are lots of various elements, such as the place and the image of projection, which are controlled by the artists. But the number of pedestrians, their actions and also their distances from the projector, which are all the contribution by the public to the work, they are all irregular, random and different. People may sway their limbs and bodies, standing closer or far away from the projector. The overlapping of the portrait images projected and the shadows of the public are the sight effects of the interactive power by the artists and the public. It is an improvisation[8]!
[fig.8a]
[fig.8b]
[fig.8c]
[fig.8d]
[fig.8e]
‘Drawn’ is an installation work for hand and ink (fig.8a), The public are invited to become performers, First, the player needed to learn how the system work and then use some ink to draw on a paper (fig.8b & 8c), an overhead camera will record it and display on the screen. Later on, the player can use his or her hand to move the ‘forms’ on the screen like a magic (fig.8d & 8e). In this work, the public takes the role to share their creativity with others, everyone can perform an unique magic and have an interactive experience!
[fig.9a]
[fig.9b]
‘Beijing Accelerator’ (fig.9a) by Marnix de Nijs consists of a racing-chair and a screen. The participant sits on the racing-chair with a joystick, control both the direction and speed of the chair, rotating panoramic images are projected on the screen. The public can be able to snap into Beijing and rotate in sync with own movement (fig.9b). At the same time, the view will be changed with a higher preset speed. It means to access the next level which is more difficult to control the speed and the image cohesively. There are six levels in total for the public to experience, it is because the quick dynamics of a city that could transform into such apparent modernism[9] inspired Marnix to create the work like this. The participation of the public is especially important in this artwork, as it could help to experience what the artist want others know.
[fig.10a]
[fig.10b]
[fig.10c]
[fig.10d]
[fig.10e]
[fig.10f]
Lots of applications in Facebook are designed for the web users to connect with friends. This kind of digital interactive art is not a communication between the artists and the public, but a chance for the public to connect with art, to develop their talent of creativity. Take ‘Christmas Tree Decorator’ (fig.10a) as an example, firstly, it requires the user to share the application to friends in order to have more adornments (fig.10b), then, the user can start to decorate from the initial setting (fig.10c), a empty tree and a plain wall. Everyone can design his or her unique picture with more than twenty adornments, such as different colours of light bulbs, candles, etc (fig.10d). After the decoration, user can write down a message (fig.10e) and finally show to the public in the Factbook (fig.10f). And others can leave a present to the user. This work is not finished until the participation of the user! No one would concern who produce the application, but the truth is someone complete the works in their own.
In conclusion, the participation of the public is an importance role to make the works complete and special. It can be an individually enjoyment, like completing a story with different content, sequences or the ending, helping the development of the story. It can also be an experience or learning process for the citizens. In addition, the digital interactive art can be a sharing, to share the work in a unique, special, funny and creative way. It also makes the relationship between people closer.
In the future, the potential of the new technologies is toward interaction and communication[10], and it will apply to the digital art. Because of the digital technologies, artists can create more artworks which can involve the public to participate in, and art is not only appeared in the museum or gallery, art can be also uploaded onto the Internet or installed on the street which the public can easily assess. Digital Interactive Art provides different roles for the public to connect to art and daily life.
Bibliography
Books
1) David Z. Saltz, The Journal of Aesthetics and Art Criticism, Vol.55, No. 2, Perspectives on the Arts and Technology. (Spring, 1997)
2) Jeffrey Rona & Chris Meyer, CyberArts: exploring art & technology, United States of America: Miller Freeman Inc., 1992
3) Linda Candy, Co-creativity in Interactive Digital Art, 2002
4) Margot Lovejoy, Postmodern Currents : Art and Artists in the Age of Electronic Media, United States of America: Upper Saddle River, 1997
5) Rafael Lozano-Hemmer & Brian Massumi, Making Art of Databases, Netherlands: V2_Publishing/ NAi Publishers, 2003
6) Steven Holtzman, Digital Mosaics, United States of America: Simon & Schuster, 1997
Websites
http://global.yesasia.com/en/PrdDept.aspx/code-w/section-videos/pid-1004429229/
http://mag.udn.com/mag/newsstand/storypage.jsp?f_MAIN_ID=255&f_SUB_ID=2633&f_ART_ID=84186
http://onetrees.org/atrees/index.html
http://thesystemis.com/drawnInstallation/index.html
http://www.cs.unm.edu/~cello/livingescher/
http://www.hkadc.org.hk/en/proactive/upcoming/event_bodymovies
http://www.hmcinteractive.co.uk/digital_grass.php
http://www.hungkeung.hk/
http://www.lozano-hemmer.com/video/bodymovies.html
http://www.marnixdenijs.nl/beijing.htm
http://www.newmediadesign.co.nz/
http://www.v2.nl/
http://www.wikipedia.org/
[1] David Z. Saltz, The Journal of Aesthetics and Art Criticism, Vol.55, No. 2, Perspectives on the Arts and Technology. (Spring, 1997), pp118
[2] http://mag.udn.com/mag/newsstand/storypage.jsp?f_MAIN_ID=255&f_SUB_ID=2633&f_ART_ID=84186
[3] http://global.yesasia.com/en/PrdDept.aspx/code-w/section-videos/pid-1004429229/
[4] http://en.wikipedia.org/wiki/M._C._Escher
[5] http://onetrees.org/atrees/index.html
[6] http://www.hmcinteractive.co.uk/digital_grass.php
[7] Rafael Lozano-Hemmer & Brian Massumi, Making Art of Databases, Netherlands: V2_Publishing/ NAi Publishers, 2003, pp39
[8] http://www.hkadc.org.hk/en/proactive/upcoming/event_bodymovies
[9] http://www.marnixdenijs.nl/beijing.htm
[10] Margot Lovejoy, Postmodern Currents : Art and Artists in the Age of Electronic Media, United States of America: Upper Saddle River, 1997, pp228
Name: Andy Lee Pak Kwan
Student ID: 1094199
Research Paper Topic:
Discuss a number of types of digital interactive artwork, the differing roles played by the public in relation to the works
Digital art is a sort of new media art which is different from tradition media art like body art, canvas painting, and installation art. It includes the aid of using the new technology such as computer. Digital art can be purely computer-generated or using computers as a tool or as a media. The new technology allows artists a new medium to explore aesthetic. This research paper is not focused on the history background of digital art, nor the theory of digital art, but only one category of digital art, the digital interactive art.
According to David Z. Saltz, if an artwork is interactive, three things must occur in real-time. Firstly, a sensing or input device translates certain aspects of a person's behavior into digital form that a computer can understand. Secondly, the computer outputs data that are systematically related to the input (i.e., the input affects the output). And thirdly, the output data are translated back into real-world phenomena that people can perceive.[1]
Digital interactive art includes the participation of viewers. Art is no longer only a one-way expression from the artists to the public, and viewers may take parts in making the artworks. The role of the public is not simply a viewer anymore, they may affect the final works, or control the works. They may have important roles to the artworks. According to Alex Adrian, one of the executive of V2_ which is an institute for the unstable media, ‘An interactive artwork is a creative artwork including something open to public access or use, and so, the viewers’ cognitive activities achieve the action of the work, to finish the final artwork.’[2]
In this research essay, numbers of digital interactive artworks would be taken as examples to show the importance of the viewers in the works. Some are put on the internet, whereas some are installed in the street. Some include individuals to take part while some involve collaborative to participate in. Some may be local works and some can be shared all over the world through internet.
[fig.1a]
[fig.1b]
[fig.1c]
[fig.1d]‘My Boyfriend Came Back From the War’ (fig.1a) by Olia Lialina is a simple digital interactive art. Once visitors click to different frames on a webpage, the images and the texts will be revealed. It is the public’s role to view the work themselves and on their ways. In fig.1b, internet user can choose from the picture (upper part) or the text (lower part) in middle part. If the picture (upper part) is clicked, it will be divided into two parts (fig.1c), while the text will be changed (fig.1d) if the text (lower part) is chosen first. Although the elements are never changed, the internet users would have different sequence to click their choices and read the story.
In other work, when the internet user enter the website, with the help of JAVA Scripts, pop-up windows will emerge and ask you to enter some texts, like ‘a season’ and ‘a name’. After that, a story appears in which viewers can see the information typed beforehand. Similar to the ‘My Boyfriend Came Back From the War’, the structure and the main theme of the story are never change. Internet users make the final decision to the story. The public is to finish the artwork in his or her own mind. Everyone has a unique ending.
[fig.2]In DVD product of the movie, Final Destination 3 (fig.2), there is a feature calls ’Choose Their Fate’. It is a new interactive feature lets the audience to decide the fate of the characters.[3] A big different to the tradition movie, that the audience is only the viewer, the role of the public is now changed. Different plots are taken and became choices for the audience to choose, they can make their own story in the film!
[fig.3]‘Procession In Crypt’ (fig.3) is an interactive processing applets based on Maurits Cornelis Escher. M.C. Escher was a Dutch graphic artist[4], he drew something illusion confusing, which were impossible to be constructed in reality. Marcello Bastéa-Forte recreated the artwork by extending the space of the original drawing to be infinity space and then shares onto the virtual world. The public browses it through the web and interact with the work. Internet users may view by different angles by simply moving the mouse. This kind of artworks is a complete work before the participation of the public, the public would just have their self-enjoyment and it would not affect others’ own enjoyment. Moreover, the role of the public is just an active viewer, the artist does not aims to have feedback from the public but just to present his respect to M.C. Escher and extend his works to share with others.
[fig.4a]
[fig.4b]‘A-Trees’ is an electronic tree (fig.4a), which is grown on the computer desktop (fig.4b). The way the users use the computer will affect the rate of ‘carbon dioxide’ and the growth of the tree. Moreover, the stump will present how many papers a printer has consumed, as the artist describes as a ‘printer queue virus’[5]. The artist noticed us the environmental problems caused by human activities, and the role of the public is to have a better use of computer in order to plant a healthy tree on their desktop. The public has more responsibilities to the outcome of the tree. A-trees is not only an artwork, but also an educational work.
[fig.5a]
[fig.5b]
[fig.5c]Similar to A-trees, ‘Digital Grass’ (fig.5a) is also a work enhancing our sense of protecting the environment which promotes a green society. It is a collaborative work by the public. ‘Digital Grass’ is composed of a screen, a plasma display is used in this case, and a detector. A lot of Digital Grass are installed in the streets across the United Kingdom for the Architecture Week 2007. The idea is the lush meadow of virtual grass growing over the real cityscape[6]. As people walk pass the screen, the air movement is detected, and the fresh green grass sprouts at their feet (fig.5b). The more movement captured by the screen, the more the grass grows and sways (fig.5c), covering the city in greenery. If no movement is detected, the grass begins to shrivel and turn to brown until only concrete remains. This artwork is applying the motion tracking, which uses a camera to capture the movement of the pedestrians. The role of the public is providing nutrients to the grass, the public do not need to do something special but just the same as the normal, walking on the street. That they walk pass the camera is already a sort of participated to the artwork.
[fig.6a]
[fig.6b]
[fig.6c]
[fig.6d]Fig.6a was taken in the ITU Telecom World 2006 in Hong Kong. It is a work using a projector to show a ‘pool’ of fish and tortoises, the sensor would detect the blockage, so the public may interact with it by using their limbs, and block the activities of the animals. One of the Hong Kong artist, Hung Keung, is famous of using the aid of a sensor to create artworks. Like ‘Li-ning’ (fig.6b), and ‘Falling and Heavy Angels’ (fig.6c & 6d), the participants may drag off the patterns in ‘Li-ning’, and block the ‘raindrops’ in ‘falling and heavy angels’ by their body.
Similarly, there are two works in the Sea Jelly Spectacular inside Ocean Park, one is using the public themselves to block the movement of jellyfish, and they will change the direction when they reach the shadow on the screen. Another is the player’s body will clear the ‘greasiness’ and the clear view of the marine lives will be appeared. This kind of technology is common to install in the public places, like shopping centre and stations, and the variety of the theme shown is wider too, like a football match, car-racing, both are controlled by the players to kick the ball or run the car with the body movements and the sensor detection.
The artworks are nothing special until the public to get between, the works become more funny and specific, because different people would bring different effects to the works.
[fig.7a]
[fig.7b]‘Body movies’ (fig.7a) is a shadow play artwork installed in the public space, it is an interactive projection with giant portraits that are revealed inside the shadows of passers-by[7]. It was first installed by V2_ in Rotterdam, Holland, in 2002. And it was installed in Tsim Sha Tsui, Hong Kong, in 2006 (fig.7b). The role of the public is an important factor to the work, it has different effect in every particular second as it is a collaborative work by the public. There are lots of various elements, such as the place and the image of projection, which are controlled by the artists. But the number of pedestrians, their actions and also their distances from the projector, which are all the contribution by the public to the work, they are all irregular, random and different. People may sway their limbs and bodies, standing closer or far away from the projector. The overlapping of the portrait images projected and the shadows of the public are the sight effects of the interactive power by the artists and the public. It is an improvisation[8]!
[fig.8a]
[fig.8b]
[fig.8c]
[fig.8d]
[fig.8e]‘Drawn’ is an installation work for hand and ink (fig.8a), The public are invited to become performers, First, the player needed to learn how the system work and then use some ink to draw on a paper (fig.8b & 8c), an overhead camera will record it and display on the screen. Later on, the player can use his or her hand to move the ‘forms’ on the screen like a magic (fig.8d & 8e). In this work, the public takes the role to share their creativity with others, everyone can perform an unique magic and have an interactive experience!
[fig.9a]
[fig.9b]‘Beijing Accelerator’ (fig.9a) by Marnix de Nijs consists of a racing-chair and a screen. The participant sits on the racing-chair with a joystick, control both the direction and speed of the chair, rotating panoramic images are projected on the screen. The public can be able to snap into Beijing and rotate in sync with own movement (fig.9b). At the same time, the view will be changed with a higher preset speed. It means to access the next level which is more difficult to control the speed and the image cohesively. There are six levels in total for the public to experience, it is because the quick dynamics of a city that could transform into such apparent modernism[9] inspired Marnix to create the work like this. The participation of the public is especially important in this artwork, as it could help to experience what the artist want others know.
[fig.10a]
[fig.10b]
[fig.10c]
[fig.10d]
[fig.10e]
[fig.10f]Lots of applications in Facebook are designed for the web users to connect with friends. This kind of digital interactive art is not a communication between the artists and the public, but a chance for the public to connect with art, to develop their talent of creativity. Take ‘Christmas Tree Decorator’ (fig.10a) as an example, firstly, it requires the user to share the application to friends in order to have more adornments (fig.10b), then, the user can start to decorate from the initial setting (fig.10c), a empty tree and a plain wall. Everyone can design his or her unique picture with more than twenty adornments, such as different colours of light bulbs, candles, etc (fig.10d). After the decoration, user can write down a message (fig.10e) and finally show to the public in the Factbook (fig.10f). And others can leave a present to the user. This work is not finished until the participation of the user! No one would concern who produce the application, but the truth is someone complete the works in their own.
In conclusion, the participation of the public is an importance role to make the works complete and special. It can be an individually enjoyment, like completing a story with different content, sequences or the ending, helping the development of the story. It can also be an experience or learning process for the citizens. In addition, the digital interactive art can be a sharing, to share the work in a unique, special, funny and creative way. It also makes the relationship between people closer.
In the future, the potential of the new technologies is toward interaction and communication[10], and it will apply to the digital art. Because of the digital technologies, artists can create more artworks which can involve the public to participate in, and art is not only appeared in the museum or gallery, art can be also uploaded onto the Internet or installed on the street which the public can easily assess. Digital Interactive Art provides different roles for the public to connect to art and daily life.
Bibliography
Books
1) David Z. Saltz, The Journal of Aesthetics and Art Criticism, Vol.55, No. 2, Perspectives on the Arts and Technology. (Spring, 1997)
2) Jeffrey Rona & Chris Meyer, CyberArts: exploring art & technology, United States of America: Miller Freeman Inc., 1992
3) Linda Candy, Co-creativity in Interactive Digital Art, 2002
4) Margot Lovejoy, Postmodern Currents : Art and Artists in the Age of Electronic Media, United States of America: Upper Saddle River, 1997
5) Rafael Lozano-Hemmer & Brian Massumi, Making Art of Databases, Netherlands: V2_Publishing/ NAi Publishers, 2003
6) Steven Holtzman, Digital Mosaics, United States of America: Simon & Schuster, 1997
Websites
http://global.yesasia.com/en/PrdDept.aspx/code-w/section-videos/pid-1004429229/
http://mag.udn.com/mag/newsstand/storypage.jsp?f_MAIN_ID=255&f_SUB_ID=2633&f_ART_ID=84186
http://onetrees.org/atrees/index.html
http://thesystemis.com/drawnInstallation/index.html
http://www.cs.unm.edu/~cello/livingescher/
http://www.hkadc.org.hk/en/proactive/upcoming/event_bodymovies
http://www.hmcinteractive.co.uk/digital_grass.php
http://www.hungkeung.hk/
http://www.lozano-hemmer.com/video/bodymovies.html
http://www.marnixdenijs.nl/beijing.htm
http://www.newmediadesign.co.nz/
http://www.v2.nl/
http://www.wikipedia.org/
[1] David Z. Saltz, The Journal of Aesthetics and Art Criticism, Vol.55, No. 2, Perspectives on the Arts and Technology. (Spring, 1997), pp118
[2] http://mag.udn.com/mag/newsstand/storypage.jsp?f_MAIN_ID=255&f_SUB_ID=2633&f_ART_ID=84186
[3] http://global.yesasia.com/en/PrdDept.aspx/code-w/section-videos/pid-1004429229/
[4] http://en.wikipedia.org/wiki/M._C._Escher
[5] http://onetrees.org/atrees/index.html
[6] http://www.hmcinteractive.co.uk/digital_grass.php
[7] Rafael Lozano-Hemmer & Brian Massumi, Making Art of Databases, Netherlands: V2_Publishing/ NAi Publishers, 2003, pp39
[8] http://www.hkadc.org.hk/en/proactive/upcoming/event_bodymovies
[9] http://www.marnixdenijs.nl/beijing.htm
[10] Margot Lovejoy, Postmodern Currents : Art and Artists in the Age of Electronic Media, United States of America: Upper Saddle River, 1997, pp228
10.25.2007
Key Visual materials
i. Source: http://www.ok-head.com/blog/?p=56
Event: Body Movies in Hong Kong
Place: Tsim Sha Tsui, HK
Date: Nov 2006
whY? I went to this event and I found it very interesting! And this is the one made me interested in this topic!=]
ii Source: http://www.canadacouncil.ca/aboutus/organization/annualreports/ar_ra_0304.htm?subsiteurl=%2Fcanadacouncil%2Farchives%2Fcouncil%2Fannualreports%2F2003-2004%2Finter_arts.asp
Description: Body Movies, Relational Architecture 6, by Rafael Lozano-Hemmer. Large-scale interactive installation featuring over 1,200 giant portraits revealed inside the shadows of passers-by: First produced by V2 in Rotterdam with Council assistance. Shown here at Ars Electronica Festival, Linz, Austria, 2002. (Photo: Rafael Lozano-Hemmer)
whY? This is an image example showing the interactive effect of Body Movies and the public.=]
iii Source: http://www.cs.unm.edu/~cello/livingescher/view.php?ProcessionInCrypt
Name: Procession In Crypt
Artist: M.C. Escher
whY? This is an example showing that people can interact with the work on Internet.=]
iv Source: http://www.hungkeung.hk/main.htm
Name: Li-ning
Artist: Hung Keung
Year: 2007
whY? This is an example showing that people can interact with the work through some sensor, the shadow and projector in this case.=]
v Source: http://www.hmcinteractive.co.uk/digital_grass.php
Name: Digital Grass
Date: 15 - 24 June 2007
Place: UK
Description: As people pass the screen, fresh green grass sprouts at their feet. The more movement captured by the screen, the more the grass grows and sways, covering the city in greenery. If no movement is detected, the grass begins to shrivel and turn to brown until only concrete remains.
whY? This is very funny! and it shows that the public does not necessary to do something special to interact, but just pass it.=]
Key quotes
1 What does it mean for a work of computer art to be "interactive"? The mere use of a computer to produce the artwork, for example, to create an image, edit a video, or design a sculpture, is not sufficient. Very generally, for a work to be interactive, the following events must occur in real-time: 1. A sensing or input device translates certain aspects of a person's behavior into digital form that a computer can understand. 2. The computer outputs data that are systematically related to the input (i.e., the input affects the output). 3. The output data are translated back into real-world phenomena that people can perceive.
by David Z. Saltz, The Journal of Aesthetics and Art Criticism, Vol.55, No. 2, Perspectives on the Arts and Technology. (Spring, 1997), pp118
2 They disagree with people who think that if one person creates the work entirely by himself or herself, that work is the purest and most perfect, because it's undiluted by outside inspiration or interference.
by Jeffrey Rona & Chris Meyer, CyberArts: exploring art & technology, Miller Freeman Inc., 1992, pp33
3 Digital systems are increasingly significant in modern technology-based art. Artists are putting considerable effort into the specification and construction of interactive experiences of many types.
by Linda Candy, Co-creativity in Interactive Digital Art, 2002, pp2
4 The potential of the new technologies is toward interaction and communication - the kind of inclusivity which encourages global exchange throughwhich fresh insights can evolve through experimentation with diversity and difference. When the technology of film was developed, Walter Benjamin wrote that it had the effect, similar to the Internet, of assuring us of an "immense and unexpected field of action."
by Margot Lovejoy, Postmodern Currents : Art and Artists in the Age of Electronic Media, Upper Saddle River, 1997, pp228
5 An urban art event employing image projection engages with this dimension of advertised nonlocality in the global economic environment, whether it wants to or not. Consciously or not, it will embed decisions about how it can or will deal with that engagement in the very form of the platform it designs for itself, the performance envelope it actuates and the documentary follow-up tactics it adopts.
by Rafael Lozano-Hemmer & Brian Massumi, Making Art of Databases, V2_Publishing/ NAi Publishers, 2003, pp37
by David Z. Saltz, The Journal of Aesthetics and Art Criticism, Vol.55, No. 2, Perspectives on the Arts and Technology. (Spring, 1997), pp118
2 They disagree with people who think that if one person creates the work entirely by himself or herself, that work is the purest and most perfect, because it's undiluted by outside inspiration or interference.
by Jeffrey Rona & Chris Meyer, CyberArts: exploring art & technology, Miller Freeman Inc., 1992, pp33
3 Digital systems are increasingly significant in modern technology-based art. Artists are putting considerable effort into the specification and construction of interactive experiences of many types.
by Linda Candy, Co-creativity in Interactive Digital Art, 2002, pp2
4 The potential of the new technologies is toward interaction and communication - the kind of inclusivity which encourages global exchange throughwhich fresh insights can evolve through experimentation with diversity and difference. When the technology of film was developed, Walter Benjamin wrote that it had the effect, similar to the Internet, of assuring us of an "immense and unexpected field of action."
by Margot Lovejoy, Postmodern Currents : Art and Artists in the Age of Electronic Media, Upper Saddle River, 1997, pp228
5 An urban art event employing image projection engages with this dimension of advertised nonlocality in the global economic environment, whether it wants to or not. Consciously or not, it will embed decisions about how it can or will deal with that engagement in the very form of the platform it designs for itself, the performance envelope it actuates and the documentary follow-up tactics it adopts.
by Rafael Lozano-Hemmer & Brian Massumi, Making Art of Databases, V2_Publishing/ NAi Publishers, 2003, pp37
Linksssss
001: Hung Keung's Website
http://www.hungkeung.hk/
Hung Keung is an independent filmmaker and new media artist bases in Hong Kong. He is well-known of creating interactive digital artworks.
010: Living escher: a gallery of interactive digital art http://www.cs.unm.edu/~cello/livingescher/
A collection of interactive processing Applets based off work by Maurits Cornelis Escher (1898-1972), one of the world's most famous graphic artists.
011: HMC Interactive
http://www.hmcinteractive.co.uk/
HMC Interactive is an award winning multimedia production company. This website includes some of its works.
100: Healing Interactions and Interactive Digital Art - News and Project Statement
http://findarticles.com/p/articles/mi_m2479/is_3_29/ai_80757497
An article written by Barbara Buckner, an independent video artist and exhibited work internationally.
101: Co-Creativity in Interactive Digital Art http://research.it.uts.edu.au/creative/COSTART/pdfFiles/ConsReFramed.pdf
A research paper done by Linda Candy, which main focuses on creativity, interaction design, interactive digital art and usability evaluation.
110: Rafael Lozano-Hemmer
http://www.lozano-hemmer.com/eprlh.html
Rafael Lozano-Hemmer was an electronic artist, develops large-scale interactive installations in public space.
111: New Media Design Design showcase
http://www.newmediadesign.co.nz/
A showcase of interactive websites and flash animations.
Annotated bibliography
01 CyberArts: Exploring Art & Technology
A book edited by Linda Jacobson
the sections 'new technologies and the arts' and 'interactive media: theories, tools, results' are related to my topic, and it looks quite easy to read.
02 Digital Mosaics
A book by Simon & Schuster
This book talked about the wired world, virtual world, software world and the animated world which are the platforms of the digital art, but it looks difficult to read.
03 Prixars Electronica - 2003 CyberArts
DVD and book by Hatje Cantz
There are many descriptions of Digital Artworks in 2003
04 Making Art of Databases
A book by Lev Manovich, Rafael Lozano-Hemmer, Brian Massumi, Joel Ryan & Sher Doruff
The chapter 'HUge and MObile' which is one of related to the installation of projecting on tall buildings.
05 Postmordern Currents : Art and Artists in the Age of Electronic Media
A book by Margot Lovejoy
This book talked about digital as source or media in the artworks, and in the section of media, there are chapters about interactive communication.
06 The Art of Programming
A book by Sonic Acts
There are many chapters about digital art.
07 Cutting Edge Web Design: The Next generation
A book by Daniel Donnelly
This book is a tool book about digital design, there are many examples of interactive design in it.
08 The Journal of Aesthetics and Art Criticism, Vol.55, No. 2, Perspectives on the Arts and Technology
An article by David Z. Saltz 'The Art of Interaction: Interactivity, Performativity, and Computers' seems to be useful for my topic, and it looks easy to read.
09 http://blogmarks.net/marks/tag/interactive+Art
A blog tags interactive art
the websites it taged are lots of great examples of interactive digital art and another is showing detail of an interactive digital art exhitibition in HK next month
10 http://www.lozano-hemmer.com/video/bodymovies.html
A Video showing the theory of body movies
It would be useful as I would state this as one of the interactive digital art installation example in the public places. and the clip shows different effects of it.
A book edited by Linda Jacobson
the sections 'new technologies and the arts' and 'interactive media: theories, tools, results' are related to my topic, and it looks quite easy to read.
02 Digital Mosaics
A book by Simon & Schuster
This book talked about the wired world, virtual world, software world and the animated world which are the platforms of the digital art, but it looks difficult to read.
03 Prixars Electronica - 2003 CyberArts
DVD and book by Hatje Cantz
There are many descriptions of Digital Artworks in 2003
04 Making Art of Databases
A book by Lev Manovich, Rafael Lozano-Hemmer, Brian Massumi, Joel Ryan & Sher Doruff
The chapter 'HUge and MObile' which is one of related to the installation of projecting on tall buildings.
05 Postmordern Currents : Art and Artists in the Age of Electronic Media
A book by Margot Lovejoy
This book talked about digital as source or media in the artworks, and in the section of media, there are chapters about interactive communication.
06 The Art of Programming
A book by Sonic Acts
There are many chapters about digital art.
07 Cutting Edge Web Design: The Next generation
A book by Daniel Donnelly
This book is a tool book about digital design, there are many examples of interactive design in it.
08 The Journal of Aesthetics and Art Criticism, Vol.55, No. 2, Perspectives on the Arts and Technology
An article by David Z. Saltz 'The Art of Interaction: Interactivity, Performativity, and Computers' seems to be useful for my topic, and it looks easy to read.
09 http://blogmarks.net/marks/tag/interactive+Art
A blog tags interactive art
the websites it taged are lots of great examples of interactive digital art and another is showing detail of an interactive digital art exhitibition in HK next month
10 http://www.lozano-hemmer.com/video/bodymovies.html
A Video showing the theory of body movies
It would be useful as I would state this as one of the interactive digital art installation example in the public places. and the clip shows different effects of it.
Research Questionsss
in fact, here are some research directions I have thought about......
1) Computer and TV games vs Interactive Digital Art
the relationship between two sides, and discuss whether computer and tv games should be counted as Digital Art.
2) Interactive Digital Art and the Public
the importance of the role between PUBLIC and ARTISTS in interactive digital art.
3) Types of Interactive Digital Art
discuss different types of interactive digital art such as art in computer, art on internet, installation in public places, etc.
1) Computer and TV games vs Interactive Digital Art
the relationship between two sides, and discuss whether computer and tv games should be counted as Digital Art.
2) Interactive Digital Art and the Public
the importance of the role between PUBLIC and ARTISTS in interactive digital art.
3) Types of Interactive Digital Art
discuss different types of interactive digital art such as art in computer, art on internet, installation in public places, etc.
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