This new media art technology work generates a way that a person could interact with the pop idol from a poster. It works really simple that audience can find an ultrasound sensor on the top of the poster screen. This sensor smartly catches the distances and the movements of the interactive person and then sends the motion orders to the pop stars inside the poster for feedbacks, “being kissed” from this video. We often admire the celebrities but could not see them personally; by using this interactive poster, we can even kiss and have a “real” feeling on the people that we like. This new invention has a great potential in the commercial context and maybe now or sooner a new app utilizing this technology will emerge in the market as well!
This new media art is created using a soft tachtile touch panel, a flat panel display, combined with a photoelastic property of transparent robot. This is a new way of touching and sensing. From using this technology of soft touching, users will be able to get different feedbacks from pressing, twisting, pushing, and touching the robot’s face. This is because the light from the LCD is always polarized and can block the screen entirely except the gel part in which is under pressure. By putting the gel-soft and transparent robot’s face under the LCD, audience can experience an unique way of interacting with the character in the gel sensitive panel. Moreover, the photoelastic panel will also reflect different directions and hardness from one’s pressing. This new media technology can use and apply to so many industries such as massage, healthcare, and simulation, and medicine.
From this shadow artwork, audience first get to see many random objects piling up together. No one knows what they are and how they related to artwork. However, after the light is shut down, people are able to observe this unknown creature’s shadow reflecting on the white wall. The artist uses the lighting techniquescombined with placing this object in a various distance to create a different insightful and meaningful artwork on the wall. Instead of observing the real created work, audience pay more attention on its reflection. Artist successfully shifts his audience’s vision from an ugly, known creature to a meaningful, amazing shadow art. This indirect way of looking and examining new media art distinguishes itself from our traditional way of viewing.
This new media artwork displays a new way of touching to its audience. Human beings can never really feel the shadows. However, this great work piece can allow people to touch, hold, even throw shadow away like a toy. People only need to use two small fingertips, silver ball-shaped sensor as the video shows, to be able to control the box shadows in the dark. The shadow touch generalizes the light together with senses in order to create such a joyful artwork for people to play together. Shadow is abstract but with using this new media technology, we can now feel and play with shadows!
In “The Emanicipated Spectator”, author Jacques Rancière argues about the passivity of spectatorship within the theater, reflecting his point of view on although “looking is a bad thing” (Rancière, 272), “spectatorship is not a passivity that must be turned into activity” (Rancière, 279). He emphasizes the illusion of the appearance from the theater is a way of “transmission of that [‘desire and pain’] disease through another disease, the disease of the empirical vision that looks at shadows” (Rancière, 272). He states the danger of ignorance without knowing any knowledge or conditions behind the scenes; and he uses this to communicate with his readers that by having the spectators sitting unconsciously without intervene from the performers, there is never a “good” theater which speaks to the reality of the living community (Rancière, 274). In addition, to short the distance between ignorance and knowledge, the artist has to be aware of this distance and clearly knows this “gap” (Rancière, 275). The audiences do not necessarily interpret the same way as the performers have originally since the distance between the two parties naturally exists. He portrays this idea as “there is something on one side, in one mind or one body – a knowledge, a capacity, an energy – that must be transferred to the other side, into the other’s mind or body” (Rancière, 277), in which he hopes the “associating and dissociating” (Rancière, 279) could replace the old thoughts on spectatorship, so that people can better understanding the community they live in.
Lanier - “flatness”
In “The Unbearable Thinness of Flatness”, author Jaron Lanier addresses his concerns about the newly born technologies of computer software reflects the “flatness” of current “global structure” (Lanier, 1). He expresses his worries and unbearable thoughts about those so-called new tech but actually repetitive with nothing new to develop for the century of 21st; and alerts his audiences that “that flatness [on computer software technology], as applied to human affairs, leads to blandness and meaningless” (Lanier, 1). Lanier continues uses a great number of examples from different industries such as music, economy, math, and online server Wikipedia, to illustrate dangers of current popularity and hot trends which block people’s vision and only put their focus on its outside appearance instead of looking into inside. He uses the technology of cloud architectures as one of the instances, criticizing the “new” software is just being recreated based on several existing programs. Lanier emphasizes that “we must explore [technology] as if it were unknown territory, even though we laid it out” (Lanier, 5). To support his own idea, Lanier comments about the idea of music criticism (Lanier, 6) to make parallel evidence toward his arguments on the repetition of technology, that is to say remixing has already replaced composing and successfully transited itself into a global basis (Lanier, 7). Lanier still has confidence and believes the existence of “creative, original musicians at work today” (Lanier, 9) and he states that the importance of keeping and continue inventing “better fundamental types of expression” instead of recreating and producing old ideas, or the flatness as Lanier names.
Foucault – “panopticism”
In Michel Foucault’s “Panopticism”, he introduces the concept of Bentham’s Panopticon (Foucault, 3), which creating an articulated and subdivided space under a disciplined society while only requires the surveillance and control from one individual (Foucault, 2). The architecture allows the fact of making one has the full power over many others. This perfection of power between the inspector and the prisoners establishes “a state of conscious and permanent visibility” (Foucault, 4) to illustrate the power of watching without truly seeing. Not only the concept of Panopticism” builds up a connection between the architecture with the exercise of power relations, it can also benefit “the work of a naturalist,” which inputs the same system among “patients, school-children, and workers in producing different but appropriate functions within that area (Foucault, 5). Foucault comments that it is a great way to use integrate this political machine into different functions to strengthen the society under the power of regulations (Foucault, 8).
NEW MEDIA ART IS A TREND! It is beyond the traditional art works we used to describe! Arjen Mulder, great editor and author of works of art criticism, states in his The Age of Instability that “Interdisciplinary collaboration between art and research generates an ecology of knowledge domains in which instability can be made productive”. In today’s new media art, we have been using it in a numerous variety industries such as “social, cultural, political, and economic relations” (Mission), in order to illustrate and express our feelings, emotions, and moreover, to communicate with the deepest and the most insightful meanings our society means to reflect. The media and technology perfectly fit with each other; and they tightly relate and connect between art work and people’s daily activities. All we need is to be creative, imaginative, passionate, unique, and encouraged to explore and bring up the voice through our manifesto. —————————————————————————————————————————————————— NEW MEDIA ART IS MULTIDISCIPLINARY! Politicians use new media arts to post the most striking news online in unique font words, pictorial, or video format in order to grab viewers attention through an easier way of explaining the most controversial and current political issues. Athletics expand the idea of new media arts throughout the Olympics ceremony performances so that it attracts and grabs more audience attention. Businessmen connect new media art ideas through commercial to advertise its target customers in order to bring up more profits. Scientists then generate new media arts within academic institution as to transform the abstract theory into solid and interactive animation.
Within so many different forms of new media art, everyone can become artist and media curators, enjoying the benefits of the combination of art and technology! ——————————————————————————————————————————————————
NEW MEDIA ART IS INEVITABLE!
The world is turning more openly and globally, which it requires more new media arts’ engagement in supporting one country’s artists to be able to create such intelligent pieces. Lev Manovich also emphasizes since 1990s, new media art has been tremendously increasing and speeding up, emerging through various cultural institutions! (Manovich 3). Although the art galleries are irreplaceable and being as the most original work pieces of artists, the emergence and the development of technology no doubtfully benefits people’s lives through the most essential programs. For example, Instagram has become one of the hottest photo sharing and editing apps among younger age users. This app provides people options to experience different view settings and acquires real-data processing (Gere 5) so that the owners can share their newest photo shots the first time. As The Age of Instability mentions, “Media art is inevitably beautiful.” ( Mulder) ——————————————————————————————————————————————————
NEW MEDIA ARTS IS EVERYWHERE!
Just like water and air, people cannot live without new media art. As curators, we have so many choices from these various new media arts to decorate our lives. Charlie Gere describes the relation between art works and technology in his article by using the development of computer as one of the examples, saying the two together serve as “an interactive visual medium rather than simply a number cruncher” (Gere 5). It is really hard to imagine “A world without Internet and mobile phones is almost unimaginable” (Gere 12) and those devices have now evolved into a more convenient visible art gallery through the invisible data transferring. Therefore, keep it digital! Keep it fast! Curate our own new media art works through the progression of new technology! New media art’s irreplaceable role tells us that it has bonded and will continue contributing to our major daily activities.
The innovation of new media art has rapidly evolved and tremendously developed within only a short period of time; however, its huge change and transformation generates a brand new era of digital media, benefiting people’s needs by using various types of new media art technologies.
Both of the articles, “New Media From Borges to HTML” by Lev Manovich and “New Media Art and the Gallery in the Digital Age” by Charlie Gere, clearly propose the idea of how digital media art works would potentially replace and become the new media form instead of previous galleries or museums. After reading those articles, I have learned that the usage of hyperlinks is such a great invention for the new media art. It helps audience save a lot of research time; and the link can simply direct the person to the unfamiliar term or name that he/she does not know. In the meanwhile, the hyperlinks or hypertext markup language (HTML) are able to combine and mix different types of media at the same time for users so that individual users can experience the “real time” posts, response, videos, or animations as the events happen. For instance, we use Wikipedia to explore new terms and do researches. Especially most people use it as the initiate step from looking for resource. This is due to its numerous hyperlinks throughout the information, which it contains not only the text format of definitions and databases; but also provides users graphics and interactive techniques. Thus, when I have to read long academic papers with so many unfamiliar words, I do rely on the digital hyperlinks because it is really convenient, efficient, and quite entertaining!
“New Media as Computer Technology used as a Distribution Platform,” the second definition of Lev Manovich’s eight propositions of New Media reflects the point Charlie Gere mentions on page 5 of his article. New Media is a platform of distribution, especially for “real-time data processing”. Gere also uses the Experiments in Art Technology (E.A.T) to show and prove the advantages of combinations of art and technology. As the anchor in accessing the online multi-media resources, hyperlinks do bring and link the art works with computer technologies together through the web browsers, so that people can immediately respond and share the most current news or events they have been tracking for.
Although the new media art generates a lot of advantages to online users, reminding them how wonderful technology has developed, I still agree with Charlie Gere’s assertion that “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.” The gallery still cannot disappear from the history and be replaced by the new created technologies in the world since it is just worth so much of keeping physical copies of these art works. They are the original work pieces from artists. The museum is just like a curator who collects and keeps everything that only belongs to one particular artist who needs his/her audiences’ appreciations. Unless artists originally create something in digital format, the online copies will never have the same value as those physical ones kept in the galleries. Therefore, making art visible in galleries is a way of respecting the original works to the contributed artists and it also plays an important role not just now but in the future as well!
Ronald Davis is a great American painter with well-known art pieces focused on geographic abstraction, abstract illusion, lyrical abstraction, hard-edge painting, shaped canvas painting, color field painting, and 3D computer graphics. He was born in Santa Monica, California and raised in Cheyenne. Davis found his interest and began his painting career during his early 20s; therefore he attended to San Francisco Art Institute and successfully established his unique hard-edged, geometric, and optical painting style, which it significantly impacted on the contemporary abstract paintings in the mid-1960s.
Just by looking as his art works, it is easy to grab his concerns on the shape, color, and details the artist tries to tell and communicate with the audience; and Davis is able to differentiate a clear relationship between the illusion and the reality. The following image, “Vector”, is one of his best known art pieces of Dodecagons produced in 1968, meaning “An imaginary straight line joining a plane moving round a centre, of the focus of an ellipse, to that centre or focus” (“Path to the Dodecagons”) It straightly reflects the fiberglass layers from the perspectives of deep space and volume, using the most basic geometry shapes and transparent colors to illustrate different shades and sides of the figure.