‘Digital Art’ is a new term in the domain of art. With the fast renewal of digital technologies, art works began to exist purely on the Net as their medium and the forms are varying into new ways. This essay is focusing on exploring this new medium. Net.Art Generator and JODI’s wwwwwwwww.jodi.org will be taken as examples together with some analysis on features of net worked digital art.
Digital art is a collection of new artworks emerging in recent years with the characteristic of adapting new technologies. Net worked digital art is a branch of digital art which takes the Net as their way to exist, i.e. the medium. All the functions of a net worked artwork are generated and shown on the Net.
The first example is Cornelia Sollfrank’s Net.Art Generator.[1] On the page, there are boxes indicating ‘title’ ‘artist’, etc. You type in names for ‘artist’ and ‘title’ then click ‘submit’, it produces artworks according to the instructions. Just like other internet searching engines, it searches pictures, words and texts according to the key words from the whole net and combines them together bluntly. Take generator 04 and 05 as examples. In Generator 04, type in the title ‘wind’ and artist ‘mad’, then it turn out to be a website.[2] On the page, there are many images and texts. Some texts can be linked to a new page. Moreover, from every isolated image, it has something to do with the title ‘wind’: some are geographical maps with wind vanes and one is about windmills. They are the result of internet screening related to the key words. Generator 05 is more fascinating. Typed in a title ‘angel’ and artist ‘nice’ for example.[3] The result is an image (fig.1). (In this generator, every time you open the web, selections will be conducted another time so the images may be different.) The programme randomly selects 4 pictures (fig2,3,4,5) and then combine them together into a new ‘artwork’. It can be tracked that the 4 random selected pictures are laid together and the colours are turned into contrast.
From the generators some typical features can be found. Firstly, Generator 4 and Generator 5 are different in terms of their formula but the basic disciplines are the same: It makes good use of the huge amount of Internet resources and recombines them into new artworks. By random selection, we can get numerous combinations which are beyond human calculations. American digital artist Grahame Weibren called this ‘revolution of random access’.[4] Secondly, as the whole operation is done by the ‘artist’, it is an original-made artwork by this ‘artist’. The originality spread from one artist to all the operators in front of the computer screen. Anyone who has a try on the machine and get a result can be an artist. And the artworks differ. That is a new feature when network becomes the basic medium of art. The generator itself is only a half-finished artwork; only with audiences’ participations can it be a complete artistic creativity process. Thirdly, as Christiane Paul has pointed out, in net art the basic way of ‘Visualization’ is through the net browser so Net. Art Generator is an extension and revision of net browser concept.[5] In this new medium, the ‘meta-browser treats the Net as one large database of files, retrieving information independent from the original design of the data sourse and displaying it as free-floating in space’.[6] All the information is screened from the Net.
To have a view of other aspects of net worked digital art, JODI’s wwwwwwwww.jodi.org is another example.[7] On the web, there are funny words as links. After clinking into a new page, there are more texts and they are still connected to new links. Those links are bound together after certain commands. The content doesn’t make sense at all because the words used cannot generate a clear meaning or convey a message. Users can only use imaginations to get the concept. One image imitates the geography graphs such as contour lines or isotherms (fig.6). Another animation reminds me of the game Super Mario (fig.7). That is interesting.
In this artwork, firstly the artists themselves made it without expressing certain concrete meanings while an abstract ‘concept’ is the emphasis. Again, the work itself is half-finished and the meanings will be completed through audiences’ participations thus the concepts are carried out by the process of attempting on the work. Like in JODI's work, it is a trick of playing 'hacking'. Influenced by Dada, Fluxus and conceptural art[8], the pure convey of concepts are quite easily accepted nowadays. Emphasis are turned on ‘formal instructions’ and focused on ‘concept, event, and audience participation, as apposed to unified material objects’[9] The artwork transfer its function from ‘visual’ to ‘abstract communication processes’[10]. Secondly, to convey the abstract concepts, colours and compositions become important. So in most new media works, the strong visual impact is a norm. Like in Generator5 the colours are dazzling while in JODI’s work the lines, colours and animations are attracting. Thirdly, 'hacking' is taken as a method in artwork creativity. The elements of digital art are codes and commands etc. The basic method is by clicking links which cannot survive without the Net. ‘Algorithms that from the basis of all software and every computer operations’[11] are vital elements in the operation of digital art.
Finally, have a look at the comparison with traditional art. In traditional art, media are paintings, sculptures, photographs, including films… They are fixed. ‘The ‘signature’ and ‘voice’ of an artist manifests itself in aesthetics of visuals and execution’.[12] While when taking digital technologies as a medium an artwork is 'tasted' through the process of audiences participations. Audiences have access to the artwork operations. And interactive cannot be fulfilled without the computer technology and Internet. Computer browsers play roles in the operations following codes and commands written by programmers (or artists) which are the basic elements of digital art. Followed by them ‘the visual results of the artwork are derived from the language of code’[13]. The aesthetics of digital art is more abstract and focus on 'concepts' than traditional artworks. These are all beyond the traditional art domain and can be treated as the features of new digital media.
2008年11月8日 星期六
Footnotes of the Essay
[1] Net. Art Generator, http://net.art-generator.com/index.html
[2] Generator 04, http://net.art-generator.com/moiNAG/
[3] Generator 05, with 'angel' 'nice' typed in, http://nag.iap.de/?ac=create&name=nice&query=angel&comp=4&width=600&ext=jpg
[4] Paul, Christiane, Digital Art (London: Thames & Hudson Ltd, 2003),p.15
[5] Paul, Christiane, Renderings of Digital Art. ' Leonardo, Vol. 35, No. 5, Tenth Anniversary New York Digital Salon (2002), p.473
[6] Ibid.
[7] JODI, http://wwwwwwwww.jodi.org/
[8] Paul, Christiane, Digital Art (London: Thames & Hudson Ltd, 2003), p.11
[9] Ibid.
[10] Ibid, p.68
[11] Ibid, p.13
[12] Ibid, p124
[13] Ibid.
[2] Generator 04, http://net.art-generator.com/moiNAG/
[3] Generator 05, with 'angel' 'nice' typed in, http://nag.iap.de/?ac=create&name=nice&query=angel&comp=4&width=600&ext=jpg
[4] Paul, Christiane, Digital Art (London: Thames & Hudson Ltd, 2003),p.15
[5] Paul, Christiane, Renderings of Digital Art. ' Leonardo, Vol. 35, No. 5, Tenth Anniversary New York Digital Salon (2002), p.473
[6] Ibid.
[7] JODI, http://wwwwwwwww.jodi.org/
[8] Paul, Christiane, Digital Art (London: Thames & Hudson Ltd, 2003), p.11
[9] Ibid.
[10] Ibid, p.68
[11] Ibid, p.13
[12] Ibid, p124
[13] Ibid.
Key Visual Materials (please read from the bottom to the top)
fig.7, cut from wwwwwwwwww.jodi.org, (09/11/08, 16:31)http://wwwwwwwww.jodi.org/100cc/havoc/pemo2.html
It reminds me of Super Mario.
It is like geographical maps.
fig.5, randomly selected by Net.Art Generator 05, (09/11/08, 16:13),
fig.4, randomly selected by Net.Art Generator 05, (09/11/08, 16:13), http://www.freefoto.com/images/14/22/14_22_2---St-Angel-Castle--Rome_web.jpg
fig.3, randomly selected by Net.Art Generator 05, (09/11/08, 16:13), http://www.ballparksofbaseball.com/al/angel2007913.JPG
fig.2, randomly selected by Net.Art Generator 05, (09/11/08, 16:13)http://lost-angel.com/angel.jpgfig.2,3,4,5 are isolated pictures selected randomly from the web.
fig.1, made by Elizabeth through Net.Art Generator 05,This is the final work of Generator 05.
ps: because it is an open system, every time you open the webpage, it will randomly select pictures another time. So they may be different.
Key words: artist: nice, title: angel
Key words: artist: nice, title: angel
Key Quotes
1.‘Ultimately, any experience of an artwork is interactive, relying on a complex interplay between contexts and productions of meaning at the recipient’s end. Yet, this interaction remains a mental event in the viewer’s mind when it comes to experiencing traditional art forms:…’ Paul, Christiane, Digital Art (London: Thames & Hudson Ltd, 2003),p.67
2.‘Among the forms that a digital artwork can take are installation; film, video and animation; Internet art and software art; and virtual reality and musical environments’ Paul, Christiane, Digital Art (London: Thames & Hudson Ltd, 2003),p.70
3.‘The importance of these movements for digital art resides in their emphasis on formal instructions and in their focus on concepr, event, and audience participation, as opposed to unified material objects.’ Paul, Christiane, Digital Art (London: Thames & Hudson Ltd, 2003),P.11
4.‘meta-browser that treasts the Net as one large database of files, retrieving information independent from the original design of the data sourse and displaying it as free-floating in space’, Paul, Christiane, Renderings of Digital Art. ' Leonardo, Vol. 35, No. 5, Tenth Anniversary New York Digital Salon (2002), p.473
5.‘…It expanded the functionality of existing browsers in an aesthetic and creative way that questioned the paradiagms of the conwentional information display and Internet ‘architecture’.’ Paul, Christiane, Digital Art (London: Thames & Hudson Ltd, 2003),p.118-119
6.‘However, the project blends different websites- for example those of CNN, the BBC, and Microsoft- and ,by collapsing territorial conventions like domains, sites, and pages, illustrates how the Net resists traditional notions of territory, ownership, and quthority.’ Paul, Christiane, Digital Art (London: Thames & Hudson Ltd, 2003),p.120
7.‘One of the most signigicant aspects of the Internet is that it has created a global platform for exchange and communities of interests.’ Paul, Christiane, Digital Art (London: Thames & Hudson Ltd, 2003),p.120
8.‘…it requires the artist to write a purely verbal description of their work. Intraditional art forms, the ‘signature’ and ‘voice’ of an artist manifests itself in aesthetics of visuals and execution. In software art, the visual results of the artwork are derived from the language of code. The aesthetics and signature of artists who write their own source code manifest themselves both in the code itself and its visual results…Code has also been referred to as the medium…’Paul, Christiane, Digital Art (London: Thames & Hudson Ltd, 2003),p.124
2.‘Among the forms that a digital artwork can take are installation; film, video and animation; Internet art and software art; and virtual reality and musical environments’ Paul, Christiane, Digital Art (London: Thames & Hudson Ltd, 2003),p.70
3.‘The importance of these movements for digital art resides in their emphasis on formal instructions and in their focus on concepr, event, and audience participation, as opposed to unified material objects.’ Paul, Christiane, Digital Art (London: Thames & Hudson Ltd, 2003),P.11
4.‘meta-browser that treasts the Net as one large database of files, retrieving information independent from the original design of the data sourse and displaying it as free-floating in space’, Paul, Christiane, Renderings of Digital Art. ' Leonardo, Vol. 35, No. 5, Tenth Anniversary New York Digital Salon (2002), p.473
5.‘…It expanded the functionality of existing browsers in an aesthetic and creative way that questioned the paradiagms of the conwentional information display and Internet ‘architecture’.’ Paul, Christiane, Digital Art (London: Thames & Hudson Ltd, 2003),p.118-119
6.‘However, the project blends different websites- for example those of CNN, the BBC, and Microsoft- and ,by collapsing territorial conventions like domains, sites, and pages, illustrates how the Net resists traditional notions of territory, ownership, and quthority.’ Paul, Christiane, Digital Art (London: Thames & Hudson Ltd, 2003),p.120
7.‘One of the most signigicant aspects of the Internet is that it has created a global platform for exchange and communities of interests.’ Paul, Christiane, Digital Art (London: Thames & Hudson Ltd, 2003),p.120
8.‘…it requires the artist to write a purely verbal description of their work. Intraditional art forms, the ‘signature’ and ‘voice’ of an artist manifests itself in aesthetics of visuals and execution. In software art, the visual results of the artwork are derived from the language of code. The aesthetics and signature of artists who write their own source code manifest themselves both in the code itself and its visual results…Code has also been referred to as the medium…’Paul, Christiane, Digital Art (London: Thames & Hudson Ltd, 2003),p.124
2008年10月31日 星期五
An Annotated Bibliography
Books:
1.Paul, Christiane, Digital Art (London: Thames & Hudson Ltd, 2003) : An instructional book; having many key points relating to the features of digital art
2.Tribe, Mark and Jana, Reena, New Media Art, (Koln; London; Los Angeles; Madrid; Paris; Tokyo: Taschen, 2006): the resources of my examples
3.Wands, Bruce, Art of the Digital Age, (New York: Thames & Hudson Inc., 2006) : a good book with some new examples and introductions
4.Gu Juyi, Digital Art: Forum (Hangzhou: Zhejiang Renmin Meishu Chubanshe, 2002): Written by scholars of mainland China, the materials seems to be out-dated. Articles mostly go through the rough and general development of new digital art, but not deep enough and no certain focuses. Because it is a collection of scholars from education institutions, another emphasis is on education which also has nothing to do with my paper.
Articles from Journal:
5.Paul, Christiane, Renderings of Digital Art. ' Leonardo, Vol. 35, No. 5, Tenth Anniversary New York Digital Salon (2002), pp. 471-474+476-484 : In this article, the author pointed out several identities of digital art and raised some examples. Some of his points are key to the virtue of digital art.
6.Manovich, Lev, Ten Key Texts on Digital Art: 1970-2000, 'Leonardo, Vol. 35, No. 5, Tenth Anniversary New York Digital Salon (2002), pp. 567-569+571-575 : It is a rough flow of some key texts about digital art. It is wide but not detailed enough for my topic. And because the works are mainly before 2000, it is a little out of date.
7.London, Barbara, Digital Art Takes Shape at MoMA, ' Leonardo, Vol. 34, No. 2 (2001), pp. 95-99 : This article mainly focuses on art projects in New York Museum of Modern Art. It also involves some online shopping cases which are the result of art fair and technology. But it is far from my topic in terms of net worked digital art.
8.Beam, Mark, New Media Minds Forum, ' Leonardo, Vol. 31, No. 4 (1998), pp. 320-321 :
9.Lichty, Patrick, The Cybernetics of Performance and New Media Art, 'Leonardo, Vol. 33, No. 5, Eighth New York Digital Salon (2000), pp. 351-354: Good and a lot of information, not related to my topic.
10.Richardson, Martin, Mixed Media: Holography within Art, 'Leonardo, Vol. 20, No. 3 (1987), pp. 251-255: interesting and new knowledge.
11.Haynes, Deborah , Mandel, Mike and Robillard, Rita, Curriculum Revolution: The Infusion and Diffusion of New Media, 'Leonardo, Vol. 31, No. 3 (1998), pp. 187-193 : quite new information but not in use
12.Lichty, Patrick, The Cybernetics of Performance and New Media Art, 'Leonardo, Vol. 33, No. 5, Eighth New York Digital Salon (2000), pp. 351-354: performance in virtual and electrical space. close to my topic and useful.
Links:
1.Paul, Christiane, Digital Art (London: Thames & Hudson Ltd, 2003) : An instructional book; having many key points relating to the features of digital art
2.Tribe, Mark and Jana, Reena, New Media Art, (Koln; London; Los Angeles; Madrid; Paris; Tokyo: Taschen, 2006): the resources of my examples
3.Wands, Bruce, Art of the Digital Age, (New York: Thames & Hudson Inc., 2006) : a good book with some new examples and introductions
4.Gu Juyi, Digital Art: Forum (Hangzhou: Zhejiang Renmin Meishu Chubanshe, 2002): Written by scholars of mainland China, the materials seems to be out-dated. Articles mostly go through the rough and general development of new digital art, but not deep enough and no certain focuses. Because it is a collection of scholars from education institutions, another emphasis is on education which also has nothing to do with my paper.
Articles from Journal:
5.Paul, Christiane, Renderings of Digital Art. ' Leonardo, Vol. 35, No. 5, Tenth Anniversary New York Digital Salon (2002), pp. 471-474+476-484 : In this article, the author pointed out several identities of digital art and raised some examples. Some of his points are key to the virtue of digital art.
6.Manovich, Lev, Ten Key Texts on Digital Art: 1970-2000, 'Leonardo, Vol. 35, No. 5, Tenth Anniversary New York Digital Salon (2002), pp. 567-569+571-575 : It is a rough flow of some key texts about digital art. It is wide but not detailed enough for my topic. And because the works are mainly before 2000, it is a little out of date.
7.London, Barbara, Digital Art Takes Shape at MoMA, ' Leonardo, Vol. 34, No. 2 (2001), pp. 95-99 : This article mainly focuses on art projects in New York Museum of Modern Art. It also involves some online shopping cases which are the result of art fair and technology. But it is far from my topic in terms of net worked digital art.
8.Beam, Mark, New Media Minds Forum, ' Leonardo, Vol. 31, No. 4 (1998), pp. 320-321 :
9.Lichty, Patrick, The Cybernetics of Performance and New Media Art, 'Leonardo, Vol. 33, No. 5, Eighth New York Digital Salon (2000), pp. 351-354: Good and a lot of information, not related to my topic.
10.Richardson, Martin, Mixed Media: Holography within Art, 'Leonardo, Vol. 20, No. 3 (1987), pp. 251-255: interesting and new knowledge.
11.Haynes, Deborah , Mandel, Mike and Robillard, Rita, Curriculum Revolution: The Infusion and Diffusion of New Media, 'Leonardo, Vol. 31, No. 3 (1998), pp. 187-193 : quite new information but not in use
12.Lichty, Patrick, The Cybernetics of Performance and New Media Art, 'Leonardo, Vol. 33, No. 5, Eighth New York Digital Salon (2000), pp. 351-354: performance in virtual and electrical space. close to my topic and useful.
Links:
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