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How Do Physical and Digital Worlds Co-Exist in the Context of Contemporary Art ?

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How Do Physical and Digital Worlds Co-Exist in the Context of Contemporary Art ? How do physical and digital worlds co-exist in the context of contemporary art ? HISTORY OF ART, MEDIA & TECHNOLOGY Fall 2015 Eden Tartour Society has an impact on artists’ inspirations. Since the seventies, society got more and more connected to the digital world that’s constantly growing. Artists started using this meaning to express their creativity - digital involves the use of computer technology. Since the mid-nineties, artists use the net as a material that can be diverted the same way a pen, brush, canvas or piece of wood could have been. Websites, social networks or any digital worlds are being transformed and used by artists to question our daily usage of such services and the representation of our reality. According to the philosopher and author Emmanuel Guez, “digital is a way of representing the world with conceptual, perceptive and emotional implications that we are only just starting to take the measure of.” Anne Huybrechts would define the digital work of art as “any innovative creation that combine different media (data, animated or static images, sound, texts, videos…) using computer processes and digital technologies in view of offering a ‘usage’ essentially based on ‘interaction’”.1 Digital art can either be published offline (as a digital format) or diffused online (via a network). Google played an important role in the digital representation of the world. The company was founded in 1998 and achieved to be the dominant search engine in the United States market in a few years. Between 2001 and 2007, Google launched three accessible and free tools online that faithfully represent the world we live in: Google Earth (a virtual globe, initially named Earth Viewer), Goole Maps (we mapping) and Google Street View (panoramic views of more that 3,000 cities in 43 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 1!! countries). Tangible and digital worlds share things back and forth thanks to artists that make this interaction possible. Many artists use both worlds to create their art pieces. Some start their creation based on physical reality, convert it to digital reality and bring them back to the physical world. Artists make this kind of experimentation can be artists from around the globe; from France (Clement Valla) to the United States (Jenny Odel), to Germany (Aram Bartholl), to China (Lu Xinjian). And they all do it in different ways, through different techniques; photography, prints, sculptures, or paintings… They share one thing in common: they use Google tools such as Street View, Maps or Earth to make their art. Jenny Odel’s work, “Satellite Collection”, is based on categorizing the world humanity created from another point of view which exists because of satellites that have been created by human beings (and for the first time launched in 1957 by the Soviet Union). She’s used Google Earth to find the images she collected, compiled and displayed by themes (pools, airplanes, stadiums, etc). These everyday simple satellite images are elevated in an aesthetic and organized way by this artist. It might not be a coincidence that Odell was born in the Californian town of Mountain View, where Google would set its roots. She explains her work with these chosen words: Art$Piece$1!"!Jenny!Odel!"!125!Swimming!Pools!"!(2009"2011) “In all of these prints, I collect things that I’ve cut out from Google Satellite View– parking lots, silos, landfills, waste ponds. The view from a satellite is not a human one, nor is it one we were ever really meant to see. But it is precisely from this inhuman point of view that we are able to read our own humanity, in all of its tiny, repetitive marks upon the face of the earth. From this view, the lines that make up basketball courts and the scattered blue rectangles of swimming pools become like hieroglyphs that say: people were here. The alienation provided by the satellite perspective reveals the things we take for granted to be strange, even absurd. Banal structures and locations can appear fantastical and newly intricate. Directing curiosity toward our own inimitably human landscape, we may find that those things that are most recognizably human (a tangle of carefully engineered water slides, for example) are also the most bizarre, the most unlikely, the most fragile.”2 Also, she wrote in an email, “they’re things we often overlook or take for granted as part of our environment; but somehow, from a satellite point of view, they reveal themselves to be (somewhat) ubiquitous signs of human civilization, popping up in certain places while the surrounding area may simply be desert or mountains. From this perspective there’s something very fragile and nostalgic about them.”3 “It’s a lot like being in a plane,” she writes, “flying over your own country but not actually being able to tell where you are or exactly what you’re looking at. I like the idea of the Earth as an endlessly readable surface.” 4 Clement Valla, a French artist, started a project called « Postcards from Google !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 2!Odell, Jenny. "Jenny Odell • Satellite Collections." Jenny Odell. N.p., n.d. Web. 08 Dec. 2015. 3!4!Habe-Evans, Mito. "'Collecting' Swimming Pools And Stadiums: Art Made From Google Maps." NPR. NPR, 23 May 2012. Web. 08 Dec. 2015.! ! Earth » in 2010, and he’s still updating it. His idea is based on a simple concept: he collected Google Earth images, looking for strange situations “where the illusion of a seamless representation of the Earth’s surface seems to break down”5, he says. He realized these images weren’t glitches nor errors in the algorithm but the result of the system — an anomaly. “They reveal a new model of representation: not through indexical photographs but through automated data collection from a myriad of different sources constantly updated and endlessly combined to create a seamless illusion; Google Earth is a database disguised as a photographic representation.” ! Some consider Clement Valla as a ‘net-photographer artist.' He was the first one to discover those anomalies or this new vision of our world through Google Earth and decided to create postcards out of them. Humor is part of this piece, and he makes us think that these places and situations exist when they don’t. It’s a typical digital art piece that he made physical by printing those screenshots. “Because Google Earth is continuously updating, there’s kind of no archive of these particular moments or situations,” he says. “So I thought it would be interesting to take them and print them as postcards.” He uses real situations that have been converted to digital via Google, and make them physical – or real again – in order to immortalize these moments. Valla has exhibited his artwork in Sweden, Montreal (Canada) San Francisco (CA), New York, Berlin (Germany), Sydney (Australia) and others. In 2015, Clement exhibited his work at XPO Gallery where Aram Bartholl exhibited his work too. !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 5!Valla, Clement. "Postcards From Google Earth." Postcards From Google Earth. N.p., n.d. Web. 08 Dec. 2015. ! Art!Piece!2!"!Clement!Valla!"!Postcards!from!Google!Earth!2010!"!now ! Aram Bartholl, the Berlin-based conceptual artist known for his works that examine the relationship between the digital and physical world, started the « Map » project in 2006, questioning the red map marker of Google Maps. This graphic icon allows the user to « find local businesses, view maps and get driving direction in Google Maps.» 6! The design of this red marker looks closely like a physical map needle. And that seemed to be the aim because this icon used to cast a shadow on the digital map (the red mark is not casting any shadow anymore – probably since Google changed his logo on September 1st, 2015). The red icon is a simple 20 pixels graphic icon and its size never changes, even though user scan zoom on the map. “In the city center series ‘Map’ is set up at the exact spot where Google Maps assumes to be the city center of the city. Transferred to physical space the map marker questions the relation of the digital information space to every day life public city space. The perception of the city is increasingly influenced by geolocation services”7 writes Aram Bartholl about his work. Robert Sollis’ project (2007) echoes to Bartholl’s. Sollis was a student at the Royal College of Art in London, and he displayed individual carpet tiles, of 185mm2 each, which corresponds to one pixel of Google’s satellite imagery, to create the Google Carpet project. This project came after he sent an email to Google service to whom he asked to add a temporary marker for the 150th-anniversary exhibition for his university. He received an auto-reply message in return that he didn’t appreciate at all. He decided to create his own marker that would be picked up by satellites and visible on Google !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 6!https://maps.google.com/! ! 7!Bartholl, Aram. "Map." Aram Bartholl - Datenform.de. N.p., n.d. Web. 05 Dec. 2015. Art!Piece!3!"!Kasseler!Kunstverein!/!Aram!Bartholl! "!Hello!World!!–!Sept.!2013! ! Art!Piece!4!"!Kasseler!Kunstverein!/!Aram!Bartholl!–!!Hello!World!!–!Sept.!2013! ! Street View. He sent a second email to inform Google that he was planning to make this project, and received a second auto-reply message in return. The work was located in Kensington Gardens by the exit of the show; there was a signpost asking people not to walk on the grass where the carpet tiles were installed. In the end, unfortunately, Robert’s plan didn’t work out since Google Maps hasn’t picked up the physical marker… Robert’s playing with the physical and the digital tools, switching from one world to the other.
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