The Archival Event by Timothy Murray
Cornell University’s “Rose Goldsen Archive of New Media Art” is an archival repository and study center with a broad array of international new media art and its documentation. In 2002, I founded the Archive, which I continue to develop and curate in the Cornell Library’s Division of Rare and Manuscript Collections. The Goldsen Archive profits from this Division’s commitment to the public access of its materials and growing interest in digital preservation. In addition to significant holdings of internet art, anchored by the LJUBLJANA INFOS 2000 collection, which I curated with Teo Spiller, and the collection of CTHEORY Multimedia, which was produced in the Cornell Library under the curatorial direction of me and Arthur and Marilouise Kroker, the Goldsen Archive is the repository of the annual competition in New Media Art administered by National Video Resources with assistance from the Rockefeller Foundation (some fifty sets of dossiers and work samples annually), as well as the holder of perhaps the world’s most extensive collection of art on CD-Rom, a collection anchored by the CD-Roms from 23 countries in the exhibition, “Contact Zones: The Art of CD-Rom,” which I toured internationally from 1999-2004.
Form Follows Data by Andrew Vande Moere
This paper analyzes the relationships between creative design and the field of information visualization, with a focus on historical connotations and newest developments that show great potential. Empirical evidence shows how designers often employ information visualization as a creative concept capable of significantly determining the design outcome, and vice versa, how information visualization can be enhanced by exploring interdisciplinary concepts, such as design cognition, user engagement, aesthetics and art. Several symbiotic dependencies are explained and demonstrated, including the first conceptual cyberspace and information architecture definitions. This paper will argue that information visualization should be enriched with the principles of creative design and art, to develop valuable data representations that address the emotional experience and engagement of users, instead of solely focusing on task effectiveness metrics. Finally, several interdisciplinary movements are described that show great symbiotic potential in the near future, especially in the fields of ambient information displays, informative art and location-based information awareness.
Some Thoughts About "New Media" in Quotes by Gordon Winiemko
As someone who works with video, both as an artist and for hire, I sometimes find myself documenting events, performances, art installations, and the like. Not long ago I provided my services for an artist renowned for confrontational, sometimes shocking performances. The whole thing was very multimedia. Well, now one would say “new media.” Video projection. Sampled footage and sounds. Beats, I should say. A live video feed of the performance itself, added to the mix. As I roamed the area, taking it all in with my video camera, what struck me was that however much it was dressed up in the latest accoutrements, there was no concealing the weariness of the old “performance art” shtick, Karen Finley smearing chocolate on herself at the flavor-of-the-month club.
I Am Sorry: The Exhibition Has Been Censored by the Artist by Lanfranco Aceti
The structures of contemporary art engagements limit the forms of representation of art and its interactions. But is it really so or does the new wave of spoof art events challenge an overbearing system of unwritten rules that is eroding basic democratic principles? Is spoof art the mirror revealing the existence of spoof democracy?
The Book Scales by Aristide Antonas
In October 1989, those who gathered in Irvine, California to attend a conference in which Jacques Derrida would also be participating, were astonished to discover that, instead of his physical presence they would be exposed to a tape recording of his voice. The conference was on architecture (what was at the time referred to as “contemporary” architecture) and one of those who was there to listen to Derrida was the architect Peter Eisenman, an old friend and colleague of his.
Hot to Bot by Edward A. Shanken
The idea that non-living matter could be used to invoke, influence, and emulate living beings is probably as old as human life itself. Over thousands of years this concept has become deeply ingrained in the human imagination as a locus of desires and fears about the future; and about the role of art and technology in forming it. In reviewing some of this history, I shall focus on, for lack of a better term, the moral of the story; in other words, what prevailing attitudes towards robots and other surrogate beings at a certain place and time tell us about the values of that culture.
Shaken hands with statues... by Erkki Huhtamo
“I have secretly caressed paintings in museums, shaken hands with statues…” This line from a song called “The Tourist” recently caught my attention.1 Is this an expression of projected affection? The confession of a madman? An account of innocent touristic pranks familiar from travel snapshots? Or is it a deliberate subversion of received codes of behavior with – perhaps – ideological implications? As it turns out, the protagonist of “The Tourist” is a loner, “a man lost in his hometown.” Touching paintings and sculptures is a compensation for the lack of a human touch that he has been searching for “in wrong places.” Touching the untouchable, crossing the line, avoiding the public eye.
Immersive Sight Within the Third Space by Jeremy Hight
Our field of vision is a continual, multi-tiered number crunching. Bicameral sight is always being processed , interpreted, reacted to, adjusted for focus, comparisons made. It simply is always running as an immersive, multi layered interaction of information and movement in a space.
Tele-Agency: Telematics, Telerobotics, and the Art of Meaning by Edward A. Shanken
The human and political implications of agency, especially with respect to technology, demand that agency be problematized as it relates to telematics and telerobotics. By analyzing artworks that use these telecommunications technologies, it is possible to differentiate between various models of agency and suggest their epistemological and ontological implications.
The New New: video art in the 21st century by Shaun Wilson
What is new about video art in the twenty-first century? This question underpins my enquiry into the new approaches and modes of practice that have changed both the ways in which recent video art has experienced a hybridisation of other influences – such as the music video clip, the computer game, and cinema – and to how this is positioned through Media Arts and elsewhere.
IMCA