DOCSLIB.ORG

Mixed Reality Art and the Graphical User Interface

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Mixed Reality Art and the Graphical User Interface mixed reality art and the graphical user interface Ian Gwilt A thesis submitted in fulfilment of the requirements of the degree of Doctor of Philosophy School of Art History and Theory University of New South Wales 2009 00_insidecover [A] abstract This hybrid (practice/thesis) examines the phenomenon of mixed-reality art through the form of the graphical user interface (GUI) as an emergent site of creative practice. Utilising three methodologies – the documentation of practice; a conceptual framing; and a series of personal experimental artworks – I will explore the creative manifestation of the GUI. This will be done using the following terms: as a computer-based interface; as material artefact; and as augmented reality construct. The thesis builds a position around the idea that differing manifestations of the GUI aesthetic as represented in virtual, physical and mixed-reality constructs can be used to examine the recent interest in the concept of ‘mixed-reality’ as a site of enquiry within creative digital media. The artworks that make up the documented practice element of this thesis represent an exploration into the visual language of the GUI through the above three terms. Through this practice/thesis I will establish the premise that by creatively repositioning the GUI, it is possible to challenge our understanding and expectations of the conventional computer interface wherein icons no longer function as navigational devices and can be removed from the context of the computer desktop interface by varying scale, media and configuration. Moreover, that shifts in representation and form allow for the (d)evolution of the computer desktop metaphor back into object-based artefacts and hybrid configurations. In doing so, metaphoric ambiguities are created, which act as a lens for considering our relationship with computer technologies and the role they have taken in our social, cultural and creative environs. In the final chapter of this thesis I will describe in some detail a selection of my own works created over a six-year period between 2002 and 2008. Accompanying this written text is a CD-ROM, which contains additional documentation associated with these works. The concepts and works documented through the written thesis represent an original attempt to draw together and define current activities associated with the GUI as a creative site of enquiry or conceptual trigger for thinking through notions of mixed-reality art. abstract [i] list of plates Fig 1 | Perry Hoberman System Maintenance (1998) installation details. CHAPTER 1 Images Perry Hoberman Fig 2 | An early example of a Virtual Reality Head Mounted Display system. Image Nasa Fig 3 | Maurice Benayoun World Skin, a Photo Safari in the Land of War (1997) installation details. Images Maurice Benayoun Fig 4a | Virtual reality model Fig 4b | Mixed-reality model. Diagram concepts courtesy of Mark Billinghurst from The Human Interface Technology Laboratory New Zealand - HIT Lab NZ Fig 5 | A diagram of the interplay of the GUI and mixed-reality as a conduit between the digital and the material Fig 6 | A diagram of the conceptual relations subtending mixed-reality art Fig 7 | Jon McCormack Turbulence (1994/5). Image Jon McCormack Fig 8 | Troy Innocent New life [IC:TF:NEO] (2002). Image Troy Innocent Fig 9 | Desktop detail, Windows 95 (1995) showing desktop icon metaphor CHAPTER 2 Fig 10 | Desktop detail, Mac OS X v10.4 Tiger (2005) showing multiple windows and window navigation devices Fig 11 | Desktop detail Mac OS 9 (1999) Fig 12 | Desktop detail Mac OS X v10.0 Cheetah (2001) Fig 13 | Apple Macintosh desktop (1994) Fig 14 | Desktop details: Mac OS X v 10.5 Leopard (2007) (left), Microsoft Windows Vista (Aero theme) (2006) (right) Fig 15 | Toolbar details from (top to bottom) Mosaic (1993) Netscape Navigator 1.22 (1995) Internet Explorer 1.0 (1995) Fig 16 | Alexei Shulgin Form Art (1997) detail. Image Alexei Shulgin Fig 17 | Alexei Shulgin Desktop Is (1997/8) detail. Image Alexei Shulgin Fig 18 | John F. Simon, Jr. Every Icon (1997) screen capture from website 2008. Image John F. Simon, Jr. Fig 19 | Simon Biggs Recombinant Icon (2003) screen capture from website 2008. Image Simon Biggs Fig 20 | Exonemo Natural Process (2004) gallery installation details. Image Exonemo list of plates [ii] Fig 21 | Rainer Ganahl c-garbage (1992) inlaid wood, Image Galerie Roger CHAPTER 2 Pailhas, Marseilles 1993 Fig 22 | Valery Grancher Hotmail.com (2004). Image Valery Grancher Fig 23 | Valery Grancher Dos paintings (2003). Image Valery Grancher Fig 24 | Carlo Zanni Landscape, Untitled JPEG (2000). Image Carlo Zanni Fig 25 | Carlo Zanni Landscape, Napster Logo (2002). Image Carlo Zanni Fig 26 | Miltos Manetas Madonna and Child.jpg (1998). Image Miltos Manetas Fig 27 | George Pusenkoff Single Mona Lisa (1997). Guelman Gallery, Moscow Fig 28 | George Pusenkoff 9 Teile Mona Lisa (1997) 210 x 210 cm acryl/canvas. Image George Pusenkoff Fig 29 | Miltos Manetas Pink Explosion (After Doom) (1998) vibracolour print on super glossy paper 80x120 inches. Image Miltos Manetas Fig 30 | Feng Mengbo Q4U_200201.TGA (2002) 59” x 79” oil on canvas. Image Feng Mengbo Fig 31 | Jon Haddock Mercedes (2002). Image Jon Haddock Fig 32 | Jon Haddock Som_ver01 (2000). Image Jon Haddock Fig 33 | A Fuse Deposition Modelling Rapid Prototype, seen before the CHAPTER 3 removal of support material Fig 34 | Ola Pehrson Winfile.exe (1997) 25 x 30 x 35 cm wood, paint. Image Ola Pehrson Fig 35 | Darko Fritz Home (2002) 2 x 2m image on 2.5 x 5 m advertising billboards, part of the Migrant Navigator project. Image Darko Fritz Fig 36 | Darko Fritz The Future of Nostalgia horticultural unit (2002) 9 x 9 m flower installation. Image Darko Fritz Fig 37 | Stella Brennan Tuesday 3 July 2001, 10:38am (2002) 860 x 1150 mm needlepoint embroidery, cotton on canvas. Image Stella Brennan Fig 38 | Blank and Jeron dump your trash (1998) recycled www.aol Web page. Screen shot from website 2008. Image Blank and Jeron Fig 39 | Nick Crowe The New Medium (1999) 60 × 45 cm hand-engraved drawing on 6 mm float glass. Image Nick Crowe list of plates [iii] Fig 40 | Jon Thompson and Alison Craighead dot-store.com (2002) Google search- CHAPTER 3 engine result tea towel. Image Jon Thompson and Alison Craighead Fig 41 | Rainer Ganahl Afghan Dialog, Next Target? G8 members should make their decisions wisely (2002) 32 x 40 inches, silk embroidery. Image by the artist Fig 42 | Jan Robert Leegte scrollbar composition (2005) aluminium, data projection. Image Jan Robert Leegte Fig 43 | Eddo Stern USS DRAGOON “One God to Rule Them All...And in the Darkness Bind Them” (2003) 10’ x 5’ x 4’ wood, plastic, electronics, software. Image Eddo Stern Fig 44 | space-invaders Bilbao (2007) ceramic tiles. Image space-invaders website Fig 45 | Perry Hoberman Cathartic User Interface (1995) installation details. Images Perry Hoberman Fig 46 | Antonio Muntadas The file room (1994). Image Tara Nicholson, The Banff Centre Fig 47a | Namco Pac-Man (1998) screen shot. Image by Namco Fig 47b | New York University Interactive Telecommunications program Pac-Manhattan (2004). Image by ehud, Flickr, Pacmanhattan (Set) Fig 47c | Le Gentil Garçon Pac-Man (advanced) (2004) 8 editions, diameter 65 cm, resin. Image Le Gentil Garçon Fig 48 | Blast Theory Can You See Me Now? (2001). Images by Blast Theory Fig 49 | Aram Bartholl Map (2006). Image Aram Bartholl Fig 50 | A good choice 2.0 (2002) 900mm x 120mm digital print. Image Ian Gwilt CHAPTER 4 Fig 51 | Scrolling heaven (2004) installation details. Image Ian Gwilt Fig 52 | Scrolling heaven (2002) 2D image, initial experimental work for Scrolling heaven. Image Ian Gwilt Fig 53 | Scrolling heaven (2004) 3D image model basis of the Scrolling heaven installation. Image Ian Gwilt Fig 54 | Scrolling heaven (2004) RP sculpture, ABS plastic and installation detail. Image Ian Gwilt Fig 55 | Scrolling heaven (2004) animation loop, 3 LCD screens and plinth (with wall mounted digital print in background). Image Ian Gwilt Fig 56 | MadeKnown (2005) details of display plinth (foreground work, Geo_soft (2005) by Steve Hatzellis). Image Ian Gwilt Fig 57 | MadeKnown (2005) general exhibition layout. Image Ian Gwilt list of plates [iv] Fig 58 | Details of folder_field (2005) rapid prototype sculpture. Image Ian Gwilt CHAPTER 4 Fig 59 | Untitled Media: a survey of new media art (2006) website homepage. Image Ian Gwilt Fig 60 | visual taxonomy survey icons (2006) details. Image Ian Gwilt Fig 61 | 2 different visualisation modes from the Untitled Media (2006) database. Image Ian Gwilt Fig 62 | Installation details of the Untitled Media (2006) activity area, physical/digital data collection options. Image Ian Gwilt Fig 63 | Diagram of Milgram’s Virtuality Continuum (Milgram 1994). Image Ian Gwilt Fig 64 | The visual diagram of Milgram’s virtual continuum. Image Ian Gwilt Fig 65 | mundane traces (2007) installation views. Image Ian Gwilt Fig 66 | folder_wall (2007) installation view. Image Ian Gwilt Fig 67 | Scrolling heaven animation (2007) 2 stills. Image Ian Gwilt Fig 68 | folder_field (2006) Rapid Prototype sculpture. Image Ian Gwilt Fig 69 | file_field (2007) Rapid Prototype sculpture. Image Ian Gwilt Fig 70 | save_as (2007) a. gallery installation, b. screen close-up. Image Ian Gwilt Fig 71 | ‘The Olympic Tally Room’, venue for the 2008 mundane_traces show. Image Ian Gwilt Fig 72 | The entrance and walkway to ‘The Olympic Tally Room’ exhibition space. Image Ian Gwilt Fig 73 | Scrolling heaven animation, projection technique in the mundane_traces 2008 show. Image Ian Gwilt Fig 74 | Scrolling heaven digital prints (2008) multiple window version, installation and detail mundane_ traces 2008 show. Image Ian Gwilt Fig 75 | folder_floor (2008) multiple acrylic folders, installation and detail, mundane_traces 2008. Image Ian Gwilt show. Image Ian Gwilt Fig 76 | command z (2008) audio loop, headphones and plinth, mundane_traces 2008 show. Image Ian Gwilt Fig 77 | cross animation (2006) animation loop, installation and detail, mundane_traces 2008.
Load more

Recommended publications
  • Josef Albers Change Direction, 1942 Josef Albers Kam 1920, Nach Dem
    Josef Albers 1888 Bottrop, D – 1976 New Haven, Connecticut, USA Change Direction, 1942 Öl auf Spanplatte/Oil on chipboard Erworben/Acquired 1985 Daimler Art Collection Stuttgart/Berlin Josef Albers kam 1920, nach dem Studium in Berlin, Essen Having studied in Berlin, Essen and Munich, Albers, aged 32 at und München, bereits 32-jährig ans Bauhaus in Weimar und the time, moved to Weimar in 1920 to continue his studies at studierte zunächst bei Johannes Itten. Als Leiter der the Bauhaus, initially under Johannes Itten. As head of the Glaswerkstatt gab Albers Kurse in Materialkunde und glass workshop, Albers taught material science and influenced beeinflusste als Bauhaus-Meister über zehn Jahre mehrere several generations of Bauhaus students in the course of ten Generationen von Studenten. Albers erste abstrakte Bilder years. Albers’ first abstract pictures date back to the year datieren in das Jahr 1913, aber erst seine Glasfenster- 1913, but it was not before the 1930s that his glass window entwürfe der 1930er Jahre markieren prägnante Entwick- drafts reflected distinctive development steps towards a lungsschritte zu visuell wahrnehmbarer Räumlichkeit auf visually perceptible three-dimensionality on a level surface. planer Fläche. Zwischen 1941–42 entwickelt Albers die Serie Albers worked on the Graphic Tectonic series in 1941–42, to Graphic Tectonic, zu welcher auch die Arbeit Change which the work called Change Direction, 1942, belongs: Direction, 1942, gehört: Mehrere einander überlappende Several overlapping pictorial levels are folded out by means of Bildebenen in unterschiedlicher Farbigkeit werden durch ein a structure of white lines. Movements in opposite directions weißes Liniengefüge wechselseitig aufgeklappt. Gegen- meet in front of a diagonal surface in a brownish shade.
    [Show full text]
  • Michigan IT Lawyer a Publication of the State Bar of Michigan Information Technology Law Section
    State Bar of Michigan Michigan IT Lawyer A Publication of the State Bar of Michigan Information Technology Law Section http://www.michbar.org/it Table of Contents September 2012 . Vol. 29, Issue 6 Bits and Bytes from the Chair Contents . Bits and Bytes from the Chair ................1 By Charlie Bieneman, Rader, Fishman & Grauer PLLC . Appropriate Testing and Resolution: How to Determine Whether Appropriation Art is Transformative Greetings, everyone, “Fair Use” or Merely an Unauthorized Derivative?..............................................2 I will make my last “Bits and Bytes” a short one. I have had a . Publicly Available Websites for IT great year as Section Chair, and I am looking forward to work- Lawyers ................................................24 ing with all of you in the Section for the years to come. Thanks to everyone who has contributed and participated in the past year. We . Mission Statement Information Technology Law Section, State Bar of have a great group. Michigan ...............................................24 I hope to see everyone at our Annual Meeting and Fifth Annual . The State of Information Technology Law IT Law Seminar next week, Thursday, September 27, 2012, at the – 2011 ..................................................... 25 St. John’s Inn in Plymouth. We have a great lineup of speakers and topics, plus excellent networking opportunities at our seminar lun- . 2013 Edward F. Langs Writing Award ..37 cheon and post-seminar cocktail hour. If you haven’t yet registered, you can do so by going to the ICLE website, www.icle.org. To sign up for the center, select the “Store” tab, choose “Seminars” from the “Search” drop-down box, and then enter “information technolo- Michigan IT Lawyer is published every other gy” for your search.
    [Show full text]
  • The-Economic-Structure-Of-Intellectual-Property-Law.Pdf
    The Economic Structure of Intellectual Property Law The Economic Structure of Intellectual Property Law William M. Landes Richard A. Posner The Belknap Press of Harvard University Press Cambridge, Massachusetts, and London, England 2003 Copyright © 2003 by the President and Fellows of Harvard College All rights reserved Printed in the United States of America Library of Congress Cataloging-in-Publication Data Landes, William M. The economic structure of intellectual property law / William M. Landes, Richard A. Posner. p. cm. Includes bibliographical references and index. ISBN 0-674-01204-6 1. Intellectual property—United States. 2. Intellectual property—Economic aspects. I. Posner, Richard A. II. Title. KF2979.L36 2003 346.7304′8—dc21 2003050882 Contents Introduction 1 1 The Economic Theory of Property 11 2 How to Think about Copyright 37 3 A Formal Model of Copyright 71 4 Basic Copyright Doctrines 85 5 Copyright in Unpublished Works 124 6 Fair Use, Parody, and Burlesque 147 7 The Economics of Trademark Law 166 8 The Optimal Duration of Copyrights and Trademarks 210 9 The Legal Protection of Postmodern Art 254 10 Moral Rights and the Visual Artists Rights Act 270 11 The Economics of Patent Law 294 12 The Patent Court: A Statistical Evaluation 334 13 The Economics of Trade Secrecy Law 354 14 Antitrust and Intellectual Property 372 15 The Political Economy of Intellectual Property Law 403 vi Contents Conclusion 420 Acknowledgments 425 Case Index 427 Author Index 430 Subject Index 435 Introduction Awareness that intellectual property raises distinctive economic issues long predates the modern law and economics movement. By “intellectual prop- erty” we mean ideas, inventions, discoveries, symbols, images, expressive works (verbal, visual, musical, theatrical), or in short any potentially valu- able human product (broadly, “information”) that has an existence separable from a unique physical embodiment, whether or not the product has actually been “propertized,” that is, brought under a legal regime of property rights.
    [Show full text]
  • Contemporary Art and New Media: Hybrid Discourse Or Digital Divide?
    21 Contemporary Art and New Media Digital Divide or Hybrid Discourse? Edward A. Shanken Since the mid‐1990s, new media art (NMA) has become an important force for economic and cultural development internationally, establishing its own major institutions.1 Collaborative, transdisciplinary research at the intersections of art, science, and technology also has gained esteem and institutional support, with inter- disciplinary PhD programs proliferating around the world. During the same period, mainstream contemporary art (MCA) experienced dramatic growth in its market and popularity, propelled by economic prosperity and the propagation of interna- tional museums, art fairs, and biennial exhibitions. This dynamic environment has nurtured tremendous creativity and invention by artists, curators, theorists, and pedagogues operating in both domains. Yet rarely does the mainstream artworld converge with the new media artworld. As a result, their discourses have become increasingly divergent. MCA practice and writing are remarkably rich with ideas about the relationship between art and society. Indeed, they are frequently engaged with issues that pertain to global connectivity and sociability in digital, networked culture. Given the proliferation of computation and the Internet, it perhaps was inevitable that central discourses in MCA would employ, if not appropriate, key terms of digital culture, such as “interactivity,” “participation,” “programming,” and “networks.” But the use of these terms in MCA literature typically lacks a deep understanding of the scientific and technological mechanisms of new media, the critical discourses that theorize their implications, and the interdisciplinary artistic practices that are co‐extensive with them. Similarly, mainstream discourses typically dismiss NMA on the basis of its technological form or immateriality, without fully appreciating its theoretical richness, or the conceptual parallels it shares with MCA.
    [Show full text]
  • New Media 10101 Art and Technology (Detail of Still), 2014-2020
    New Media 10101 Art and Technology (detail of still), 2014-2020. RGB.VGA.VOLT James H. Connolly, James H. Connolly, AUGUST 15 – SEPTEMBER 26, 2020 PENINSULA SCHOOL OF ART ART AND TECHNOLOGY NEW MEDIA Technology is the application of scientific knowledge for New Media 10101 focuses on artists practical purposes, and art and science have a long history of using digital technologies in a ‘New Media art’ and ‘digital art’ are often used pushing each other forward. The camera obscura has been variety of ways. Some use software interchangeably, but New Media is best understood around for thousands of years, but it took an 1829 collaboration made for artists and designers in as an umbrella term that encompasses many narrower between French amateur scientist Nicéphore Niépce and the process of creating physical disciplines, including video, digital, computer, sound, artist Louise Deguarre to create a way to permanently works of art. Emily Scheider Berens interactive, bio-technical, virtual reality, installation, web, capture its images with a reasonable exposure time. The son describes herself as a ‘Tra-Digital’ artist. and 3-D printed art, to name a few. However, much of the work in New Media though the years is connected to one of a master weaver, Joseph Marie Jacquard invented the first She combines traditional drawing and or more of the following practices: programmable loom, which was operated using punched printmaking techniques with digital cards and led to the invention of early computers. imaging and collage processes to Collaboration create the intricately detailed works on For philosophical or practical reasons, New Media artists paper featured in the exhibition.
    [Show full text]
  • New Media Art
    New Media Art Gabriela Avram New Media Art p Older names like "Digital art," "Computer art," "Multimedia art," and "Interactive art" are often used interchangeably. p New Media art = a subset of two broader categories: Art and Technology and Media art. ■ Art and Technology refers to practices such as Electronic art, Robotic art, and Genomic art, that involve technologies which are new but not necessarily media-related. ■ Media art includes Video art, Transmission art, and Experimental Film -- art forms that incorporate media technologies which by the 1990s were no longer new. Banksy piece auction Historical roots p 1920’s -the Dada movement emerged in several European cities (Zürich, Berlin, Cologne, Paris, and New York). Artists were disturbed by what they perceived as the self-destructive bourgeois hubris that led to the First World War; they began to experiment with radically new artistic practices and ideas . p Dada was a reaction to the industrialization of warfare and the mechanical reproduction of texts and images; p New Media art can be seen as a response to the information technology revolution and the digitization of cultural forms. Old and new p Fragmented juxtapositions of borrowed images and texts in works like Shu Lea Cheang's Brandon and Diane Ludin's Genetic Response System 3.0 (2001) are reminiscent of the collages of Raoul Hausmann, Hannah Höch, and Francis Picabia. Old and new p New Media art works involving direct appropriation, e.g. Alexei Shulgin's WWWArt Award or RSG's Prepared PlayStation (2005) – inspired by Marcel Duchamp's readymades. Old and new p Activist New Media art projects like Electronic Disturbance Theater's FloodNet and Fran Illich's Borderhack- relate to the work of George Grosz, John Heartfield, and other Berlin Dadaists who blurred the boundaries between art and political action serve as important precedents for .
    [Show full text]
  • Contemporary Art and New Media: Digital Divide Or Hybrid Discourse
    Contemporary Art and New Media: Digital Divide or Hybrid Discourse? Edward A. Shanken DXARTS University of Washington, Washington-DC, United States [email protected] Since the mid-1990s, new media art (NMA) has become an important force for economic and cultural development internationally, establishing its own major institutions.1 Collaborative, transdisciplinary research at the intersections of art, science, and technology also has gained esteem and institutional support, with interdisciplinary Ph.D. programs proliferating around the world. During the same period, mainstream contemporary art (MCA) experienced dramatic growth in its market and popularity, propelled by economic prosperity and the propagation of international museums, art fairs, and biennial exhibitions. This dynamic environ- ment has nurtured tremendous creativity and invention by artists, curators, theo- rists and pedagogues operating in both domains. Yet rarely does the mainstream artworld converge with the new media artworld. As a result, their discourses have become increasingly divergent. MCA practice and writing are remarkably rich with ideas about the relationship between art and society. Indeed, they are frequently engaged with issues that per- tain to global connectivity and sociability in digital, networked culture. Given the proliferation of computation and the Internet, it perhaps was inevitable that central 1 This essay is forthcoming in Christiane Paul, ed. A Companion to Digital Art. London: Wiley-Bla- ckwell. Portions were previously published in the following: “Contemporary Art and New Media: Outli- ne for Developing a Hybrid Discourse” ISEA2010 Proceedings; “Alternative Nows and Thens To-Be” Alternative Now (online festival reader) Wroslaw: WRO2011 Biennial of Media Arts, 2011; reprinted in in Repasando el Futuro (English/Spanish) Barcelona: ArtFutura, 2011, 13-27; “Response to Do- menico Quaranta’s ‘The Postmedia Perspective’” Rhizome.org 26 Jan 2011; and “Edward Shanken on ‘Is New Media Accepted in the Artworld?’” Artfagcity, 6 Sep, 2011.
    [Show full text]
  • Monika Fleischmann & Wolfgang Strauss
    5th May Local Time UYT (UTC -3) 11:30 Opening 12:00 Inaugural Lecture “Imagine a space filled with data - the architecture of interactivity” Monika Fleischmann & Wolfgang Strauss (Germany) ​ Special Invitee: Derrick de Kerckhove (Italy) Introduction & Moderation: Anja Pratschke (Brazil) Contributions: Margit Rosen, Daniel Becker (Germany), Karin Ohlenschlaeger (Spain) and Ryszard W. Kluszczyński (Poland) Resume In a retrospective Monika Fleischmann and Wolfgang Strauss discuss their participatory concepts and interactive artworks from the late 1980s to the time when participation became possible on the Internet in the 2000s. They do this with the concept of the ‚thinking space‘ (Denkraum, Aby Warburg, 1929), and understand it as an „evocative object in a culture of simulation“ (Sherry Turkle, 2004), or as ‚a space filled with data‘ that is intended to stimulate learning and thinking. Their artwork shows the development of the interface from a physical object like a table to a virtual environment like a mixed reality stage. With the advent of the Internet, the interface changes to an operative image (Sybille Krämer, 2009). In "Berlin, Cyber City" (1989), after the fall oft he Berlin wall, visitors dive into virtual Berlin with a sensor in their hands and gain new perspectives. They discuss the current situation around an interactive table and take on "a position in the world that is not their own" (Hannah Arendt, 1960). With "Home of the Brain" (1990), the artists not only reflect on the new medium, but the discourse itself is shown as a philosophical debate in a virtual exhibition, which the visitor accesses with head mounted display and data gloves.
    [Show full text]
  • A Critical Inquiry: Paintbrush to Pixels; Developing Paradigms in the Production and Consumption of New Media Art
    A Critical Inquiry: Paintbrush to Pixels; Developing Paradigms In The Production and Consumption of New Media Art. Brett Aggersberg, MA, PGCTLHE, BSc (Hons) DIRECTOR OF STUDIES (Dr Karen Ingham) SECOND SUPERVISOR (Dr Howard Riley) THIRD SUPERVISOR (Dr Paul Jeff) STATEMENT: This research was undertaken under the auspices of the University of Wales: Trinity Saint David and was submitted in partial fulfilment for the award of a Degree of PhD in the Faculty of Art and Design of the University of Wales. 2017 1 Abstract Art represents our culture, and our current culture is largely dependent on technology. However, artworks created and exhibited with digital technologies have not been as perceptible so far within contemporary arts institutions as traditional analogue art forms. This thesis instigates a critical investigation into the development and values of technology-based art works utilizing qualitative interpretations of the data. Whilst this rapidly changing field is problematic in terms of a conventional conclusion, the principle aim is to explore whether an improved understanding and awareness of new media art is required as a result of the paradigm shift caused via the permeation of digital technologies across art practices. The resulting new methods of production, distribution, and consumption within art require updated models of critical engagement. An appropriate paradigm shift in respect of institutions, curators, and artists will aid the integration and awareness of new media art into the broader art world. Whilst my hypothesis implies an argument for a greater presence of new media art in arts institutions, I conclude however that it is better suited to alternative modes of exhibition, such as festivals, craft labs, and workshops, as a shift from traditional art paradigms means they no longer require traditional structures of display.
    [Show full text]
  • Variant Analyses Interro Gations of New Media Art and Culture
    PATRICK LICHTY VARIANT ANALYSES INTERRO GATIONS OF NEW MEDIA ART AND CULTURE A SERIES OF READERS PUBLISHED BY THE INSTITUTE OF NETWORK CULTURES ISSUE NO.: 12 PATRICK LICHTY VARIANT ANALYSES INTER- ROGATIONS OF NEW MEDIA ART AND CULTURE Theory on Demand #12 Variant Analyses: Interrogations of New Media Art and Culture Author: Patrick Lichty Editorial support: Morgan Currie Design: Katja van Stiphout DTP: Margreet Riphagen & Katja van Stiphout Printer: ‘Print on Demand’ Publisher: Institute of Network Cultures, Amsterdam 2013 ISBN: 978-90-818575-4-3 Contact Institute of Network Cultures phone: +3120 5951863 fax: +3120 5951840 email: [email protected] web: http://www.networkcultures.org This publication is available through various print on demand services. For more information, and a freely downloadable pdf: http://networkcultures.org/theoryondemand. This publication is licensed under the Creative Commons Attribution Noncommercial No Derivative Works 3.0 Netherlands License. No article in this book may be reproduced in any form by any electronic or mechanical means without permission in writing from the author. VARIANT ANALYSES 3 CONTENTS Acknowledgements 4 Introduction 7 NEW MEDIA: CRITICAL MILIEUX 12 Haymarket RIOT’s Machine: Hacking Visual Sociology By Patrick Lichty and Jonathon S. Epstein Presentation/Intervention/Performance: A Theory of the Eclectic Crash Presentations: A Theory of the Eclectic NEW MEDIA AND ACTIVISM 33 Grasping at Bits: Art and Intellectual Control in the Digital Age An Alpha Revisionist Manifesto The Paralytic
    [Show full text]
  • The Art of (Dis)Playing Video Games: Theory Meets Praxis by Christine
    The Art of (Dis)Playing Video Games: Theory Meets Praxis By Christine Kim Submitted to OCAD University In partial fulfillment of the requirements for the degree of Master of Arts In Contemporary Art, Design, and New Media Art History September, 2012 Toronto, Ontario, Canada, April 2012 © Christine Kim, 2012 I hereby declare that I am the sole author of the MRP. This is a true copy of the MRP, including any required final revisions, as accepted by my examiners. I authorize OCAD University to lend this MRP to other institutions or individuals for the purpose of scholarly research. I understand that my MRP may be made electronically available to the public. I further authorize OCAD University to reproduce this MRP by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. Signature _________________________________________________ ii Abstract Over the last two decades, public and academic discourse has concluded that video games are an art form. However, when video games are featured as exhibitions in public institutions of art – there is opposition. This essay explores the responses to this range of artistic activities by the art and game worlds. To this end I construct a typology that outlines three recognizable trends in the public exhibition of video games in art galleries and museums Blockbuster Exhibitions typically feature commercial games, while art galleries usually exhibit avant-garde Game Art or Art Games. Lastly, there is an emerging “new museum” that helps fund and foster “new arcade” games as well as independent production.
    [Show full text]
  • Das 20. Jahrhundert 156
    Das 20. Jahrhundert 156 Die Büchergilde im Exil Neueingänge Antiquariat Frank Albrecht 69198 Schriesheim · Mozartstr. 62 · Tel.: 06203/65713 Das 20. Jahrhundert 156 D Verlag und A Die Büchergilde im Exil S Antiquariat Neueingänge 2 Frank 0. J A Inhalt Albrecht H R Die Büchergilde im Exil ................................................. 1 H Neueingänge ................................................................. 28 69198 Schriesheim U Register ......................................................................... 57 Mozartstr. 62 N Tel.: 06203/65713 D FAX: 06203/65311 E Email: R Die Abbildung auf dem Vorderdeckel [email protected] T zeigt den Schutzumschlag von Laszlo Moholy-Nagy zu Katalognr. 351 USt.-IdNr.: DE 144 468 306 D Steuernr. : 47100/43458 A S 2 0. J A H Spezialgebiete: R H Autographen und Unser komplettes Angebot im Internet: Widmungsexemplare U Belletristik in Erstausgaben http://www.antiquariat.com N Illustrierte Bücher D Judaica Kinder- und Jugendbuch E Kulturgeschichte R Kunst T Politik und Zeitgeschichte Russische Avantgarde Geschäftsbedingungen Sekundärliteratur D und Bibliographien A S Alle angebotenen Bücher sind grundsätzlich vollständig und, wenn nicht an- ders angegeben, in gutem Erhaltungszustand. Die Preise verstehen sich in Euro (€) inkl. Mehrwertsteuer. Das Angebot ist freibleibend; Lieferzwang besteht Gegründet 1985 2 nicht. Telefonische Bestellungen werden erst nach schriftlicher Bestätigung 0. ausgeführt. Die Lieferungen sind zahlbar sofort nach Erhalt rein netto. Der J Versand erfolgt auf Kosten des Bestellers. Lieferungen können gegen Vor- Mitglied im auszahlung erfolgen. Es besteht Eigentumsvorbehalt gemäß § 455 BGB bis zur P.E.N.International A H vollständigen Bezahlung. Dem Käufer steht grundsätzlich ein Widerrufsrecht und im Verband des Vertrages nach § 361a BGB zu, das bei der Lieferung von Waren nicht vor Deutscher Antiquare R dem Tag ihres Eingangs beim Empfänger beginnt und ab dann zwei Wochen H dauert.
    [Show full text]