Sunday, May 16, 2010
Marina Abramovic
Marina Abramović’s exhibition at the MOMA, Marina Abramović: The Artist is Present, was fantastic. Her central piece that she was performing at the time fallowed along with her theme of voyeurism, endurance, and time. The piece involved her sitting in a chair in the middle of a room at a desk with another chair across the table in which people were expected and invited to come sit at as everyone else in the museum watched around. This piece was surrounded by cameras and live webcams so that at anytime anywhere in the world people could see what was happening. The rest of the exhibit was just as fantastic combining videos of original performances with live reenactments of them along with other works of hers mostly video pieces.
One video in the exhibit seemed to utilize the way in which a video camera only gives you a small window to watch the action with. In this video a woman and a man would come running in from off camera and slam into each other and then walk back out of the frame and then repeat. This caused a large sense of anticipation and suspense using this simple flaw in a cameras eye.
Most of her use of new media was based on documenting her work for reuse. There were quite a few video pieces of which the intent was obviously always to be a video but for the most part she never strayed very far from using a camera as a way to document a series of events. There didn’t seem to be any work that was that integrated with any new means of technology.
Whitney Biennial
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The 2010 Whitney Biennial had a large collection of video and New Media pieces as a part of the exhibit. One of these pieces was Marianne Vitale’s Patron piece. It consisted of a chair placed in front of a television on which a video of her shouting instructions to the audience. These instructions ranged from telling the people in the room to laugh at each other to telling them to find the best-looking person in the room and dance with them as well as to “imagine your feet soaking in gopher urine.”
There was not much to the video itself other then her commanding presence and her seemingly malicious tone. Yet the enjoyment of the piece came from watching people’s reaction to the video. Some people seemed to pretend it wasn’t there, others attempted to comply to her demands which resulted in some interesting scenarios as her demands vary between simple to absurd.
Patron was a attention-grabbing but doesn’t really stand alone without an audience which makes it more interesting as a video piece, for there is not always a group of people in front of it. Her monolog reflects that of older art manifestos calling into action those who hear it but at the same time she never asks for anything meaningful from her audience.
photo 4
' {$STAMP BS2}
' {$PBASIC 2.5}
timeLeft VAR WORD
DO
HIGH 3
PAUSE 2
RCTIME 3, 1, timeLeft
DEBUG HOME, "timeLeft = ", DEC5 timeLeft
PAUSE 100
LOOP
' {$PBASIC 2.5}
timeLeft VAR WORD
DO
HIGH 3
PAUSE 2
RCTIME 3, 1, timeLeft
DEBUG HOME, "timeLeft = ", DEC5 timeLeft
PAUSE 100
LOOP
photo 1
' Robotics with the Boe-Bot - Testphotoresistordividers.bs2
' Display what the I/O pins connectyed to the photoresister
' voltage dividers sense.
' {$STAMP BS2}
' {$PBASIC 2.5}
DEBUG "photoresistor states", CR,
"left RIght", CR,
"------- --------"
DO
DEBUG CRSRXY, 0, 3,
"P6 = ", BIN1 IN6,
" p3 = ", BIN1 IN3
PAUSE 100
LOOP
' Display what the I/O pins connectyed to the photoresister
' voltage dividers sense.
' {$STAMP BS2}
' {$PBASIC 2.5}
DEBUG "photoresistor states", CR,
"left RIght", CR,
"------- --------"
DO
DEBUG CRSRXY, 0, 3,
"P6 = ", BIN1 IN6,
" p3 = ", BIN1 IN3
PAUSE 100
LOOP
escaping corners
' {$STAMP BS2}
' {$PBASIC 2.5}
DEBUG "program running!"
pulseCount VAR BYTE
counter VAR NIB
old7 VAR BIT
old5 VAR BIT
FREQOUT 4, 2000, 3000
counter = 1
old7 = 0
old5 = 1
DO
IF (IN7 <> IN5) THEN
IF (old7 <> IN7) AND (old5 <> IN5) THEN
counter = counter + 1
old7 = IN7
old5 = IN5
IF (counter >4) THEN
counter = 1
GOSUB Back_Up
GOSUB Turn_Left
GOSUB Turn_left
ENDIF
ELSE
counter = 1
ENDIF
ENDIF
IF (IN5 =0) AND (IN7 = 0) THEN
GOSUB Back_Up
GOSUB Turn_Left
GOSUB Turn_Left
ELSEIF (IN5 = 0) THEN
GOSUB Back_Up
GOSUB Turn_Right
ELSEIF (IN7 =0) THEN
GOSUB Back_Up
GOSUB Turn_left
ELSE
GOSUB Foward_Pulse
ENDIF
LOOP
Foward_pulse:
PULSOUT 13, 850
PULSOUT 12, 650
PAUSE 20
RETURN
Turn_Left:
FOR pulseCount = 0 TO 20
PULSOUT 13, 650
PULSOUT 12, 650
PAUSE 20
NEXT
RETURN
Turn_Right:
FOR pulseCount = 0 TO 20
PULSOUT 13, 850
PULSOUT 12, 850
NEXT
RETURN
Back_Up:
FOR pulseCount = 0 TO 40
PULSOUT 13, 650
PULSOUT 12, 850
PAUSE 20
NEXT
RETURN
' {$PBASIC 2.5}
DEBUG "program running!"
pulseCount VAR BYTE
counter VAR NIB
old7 VAR BIT
old5 VAR BIT
FREQOUT 4, 2000, 3000
counter = 1
old7 = 0
old5 = 1
DO
IF (IN7 <> IN5) THEN
IF (old7 <> IN7) AND (old5 <> IN5) THEN
counter = counter + 1
old7 = IN7
old5 = IN5
IF (counter >4) THEN
counter = 1
GOSUB Back_Up
GOSUB Turn_Left
GOSUB Turn_left
ENDIF
ELSE
counter = 1
ENDIF
ENDIF
IF (IN5 =0) AND (IN7 = 0) THEN
GOSUB Back_Up
GOSUB Turn_Left
GOSUB Turn_Left
ELSEIF (IN5 = 0) THEN
GOSUB Back_Up
GOSUB Turn_Right
ELSEIF (IN7 =0) THEN
GOSUB Back_Up
GOSUB Turn_left
ELSE
GOSUB Foward_Pulse
ENDIF
LOOP
Foward_pulse:
PULSOUT 13, 850
PULSOUT 12, 650
PAUSE 20
RETURN
Turn_Left:
FOR pulseCount = 0 TO 20
PULSOUT 13, 650
PULSOUT 12, 650
PAUSE 20
NEXT
RETURN
Turn_Right:
FOR pulseCount = 0 TO 20
PULSOUT 13, 850
PULSOUT 12, 850
NEXT
RETURN
Back_Up:
FOR pulseCount = 0 TO 40
PULSOUT 13, 650
PULSOUT 12, 850
PAUSE 20
NEXT
RETURN
roaming with whiskers
' {$STAMP BS2}
' {$PBASIC 2.5}
DEBUG "program running!"
pulseCount VAR BYTE
FREQOUT 4, 2000, 3000
DO
IF (IN5 = 0) AND (IN7 = 0) THEN
GOSUB Back_Up
GOSUB Turn_Left
GOSUB Turn_Left
ELSEIF (IN5 = 0) THEN
GOSUB Back_Up
GOSUB Turn_Right
ELSEIF (IN7 = 0) THEN
GOSUB Back_Up
GOSUB Turn_Left
ELSE
GOSUB Foward_Pulse
ENDIF
LOOP
Foward_Pulse:
PULSOUT 13, 850
PULSOUT 12, 650
PAUSE 20
RETURN
Turn_Left:
FOR pulseCount = 0 TO 20
PULSOUT 13, 650
PULSOUT 12, 650
PAUSE 20
NEXT
RETURN
Turn_Right:
FOR pulseCount = 0 TO 20
PULSOUT 12, 850
PULSOUT 13, 850
PAUSE 20
NEXT
RETURN
Back_Up:
FOR pulseCount = 0 TO 40
PULSOUT 13, 650
PULSOUT 12, 850
PAUSE 20
NEXT
RETURN
' {$PBASIC 2.5}
DEBUG "program running!"
pulseCount VAR BYTE
FREQOUT 4, 2000, 3000
DO
IF (IN5 = 0) AND (IN7 = 0) THEN
GOSUB Back_Up
GOSUB Turn_Left
GOSUB Turn_Left
ELSEIF (IN5 = 0) THEN
GOSUB Back_Up
GOSUB Turn_Right
ELSEIF (IN7 = 0) THEN
GOSUB Back_Up
GOSUB Turn_Left
ELSE
GOSUB Foward_Pulse
ENDIF
LOOP
Foward_Pulse:
PULSOUT 13, 850
PULSOUT 12, 650
PAUSE 20
RETURN
Turn_Left:
FOR pulseCount = 0 TO 20
PULSOUT 13, 650
PULSOUT 12, 650
PAUSE 20
NEXT
RETURN
Turn_Right:
FOR pulseCount = 0 TO 20
PULSOUT 12, 850
PULSOUT 13, 850
PAUSE 20
NEXT
RETURN
Back_Up:
FOR pulseCount = 0 TO 40
PULSOUT 13, 650
PULSOUT 12, 850
PAUSE 20
NEXT
RETURN
solar
10 key Principles of New Media : Based off Lev Manovich's The language of New Media
1) The possibilities of how the audience interacts or is brought into computer based media is limited to the possibilities given to them as society is able to understand how things work. “In contrast to cinema, where most ‘users’ are able to ‘understand’ cinematic language but not ‘speak’ it… all computer users can ‘speak’ the language of the interface.”
2) The visual realm that one witnesses is as important as the key factor of the scene including the main character. “Directing the virtual camera becomes as important as controlling the hero’s actions…cinematic perception functions as the subject in its own right.”
3) Controlling what is left out or unseen is extremely important in completing the illusion of another world or reality. “Editing, or montage, is the key twentieth-century technology for creating fake realities.”
4) In creating and editing it is possible to tell a larger truth or change the truth by showing a lie. “Film can overcome its indexical nature through montage, by presenting a viewer with objects that never existed in reality.” Lev Manovich “Seeing is believing”
5) The camera can be used to bring the audience into the film and make them part of the action. The cameraman’s “camera zooms in order to ‘pry an object from its shell.’ Due to its new mobility, glorified in such films as Man with a Movie Camera, the camera can be anywhere, and with its superhuman vision it can obtain a close-up of any object.” “In this meta film, the camera, part of cinema’s apparatus, becomes the main character.”
6) Combining images lets us compare and contrast them to each other forcing the need for a soundness of space to be needed. “When photographs are brought together within a single magazine or newsreel, both the scale and unique locations of the objects are discarded- thus answering the demand of a mass society for a ‘universal equality of things.’”
7) In order to create the idea of normalcy the media should not repeat and conclude overall, there must be uniqueness throughout. “A ‘normal’ avant-garde film still proposes a coherent language different from the language of mainstream cinema… Man with a Movie Camera never arrives at anything like a well-defined language. Rather it proposes an untamed, and apparently endless, unwinding of techniques, or… ‘Effects’.”
8) Effects and special techniques should be used in an attempt to add something to the media rather then to just alter it. “It is possible to turn ‘effects’ into a meaningful artistic language….as the film progresses, straight footage fives way to manipulated footage; newer techniques appear on after another, reaching a roller-coaster intensity by the film’s end- a true orgy of cinematography… the normally static and ‘objective’ form, becomes dynamic and subjective.”
9) Repetition and reemergence of objects and moments can be used to make a point more effective and stronger over all. “Programming involves altering the linear flow of data through control structures, such as ‘if/then’ and ‘repeat/while’.”
10) The goal of new media is to use technology to allow interactivity and visualization of a world without the limitations of human possibilities. “Aim to go beyond simple human navigation through physical space.”
1) The possibilities of how the audience interacts or is brought into computer based media is limited to the possibilities given to them as society is able to understand how things work. “In contrast to cinema, where most ‘users’ are able to ‘understand’ cinematic language but not ‘speak’ it… all computer users can ‘speak’ the language of the interface.”
2) The visual realm that one witnesses is as important as the key factor of the scene including the main character. “Directing the virtual camera becomes as important as controlling the hero’s actions…cinematic perception functions as the subject in its own right.”
3) Controlling what is left out or unseen is extremely important in completing the illusion of another world or reality. “Editing, or montage, is the key twentieth-century technology for creating fake realities.”
4) In creating and editing it is possible to tell a larger truth or change the truth by showing a lie. “Film can overcome its indexical nature through montage, by presenting a viewer with objects that never existed in reality.” Lev Manovich “Seeing is believing”
5) The camera can be used to bring the audience into the film and make them part of the action. The cameraman’s “camera zooms in order to ‘pry an object from its shell.’ Due to its new mobility, glorified in such films as Man with a Movie Camera, the camera can be anywhere, and with its superhuman vision it can obtain a close-up of any object.” “In this meta film, the camera, part of cinema’s apparatus, becomes the main character.”
6) Combining images lets us compare and contrast them to each other forcing the need for a soundness of space to be needed. “When photographs are brought together within a single magazine or newsreel, both the scale and unique locations of the objects are discarded- thus answering the demand of a mass society for a ‘universal equality of things.’”
7) In order to create the idea of normalcy the media should not repeat and conclude overall, there must be uniqueness throughout. “A ‘normal’ avant-garde film still proposes a coherent language different from the language of mainstream cinema… Man with a Movie Camera never arrives at anything like a well-defined language. Rather it proposes an untamed, and apparently endless, unwinding of techniques, or… ‘Effects’.”
8) Effects and special techniques should be used in an attempt to add something to the media rather then to just alter it. “It is possible to turn ‘effects’ into a meaningful artistic language….as the film progresses, straight footage fives way to manipulated footage; newer techniques appear on after another, reaching a roller-coaster intensity by the film’s end- a true orgy of cinematography… the normally static and ‘objective’ form, becomes dynamic and subjective.”
9) Repetition and reemergence of objects and moments can be used to make a point more effective and stronger over all. “Programming involves altering the linear flow of data through control structures, such as ‘if/then’ and ‘repeat/while’.”
10) The goal of new media is to use technology to allow interactivity and visualization of a world without the limitations of human possibilities. “Aim to go beyond simple human navigation through physical space.”
Jeremy Wade’s performance “there is no end to more” was an interesting interpretation of the Japanese anime/manga world along with the strange children show, game show oddities that come from Japanese society. The performance drove home the randomness and sometimes-scary nature that is seen in this “cute culture.” The combination of interpretive dance, video collage, anime, and spoken word was a endearing way to dive into this world where the unexpected tries to be the norm.
While the performance incorporated a strong new media theme involving interacting with projected characters and seeing someone have a multiple ended conversation with oneself out loud, the techniques could have been better used and more integrated into the performance. The few interactions he had with the drawn anime were too subtle and could have been utilized much more heavily throughout the show. The majority of the time the anime didn’t have much to any of a connection with what Wade was doing or the spoken word that was being said. Also, the interpretive dance while obviously abstracted was hardly ever connectable to anything else that was happening. I felt the strongest part of the whole performance was the spoken word in the background. Since the show was based off a theme of anime and manga, the spoken word seemed to have a powerful connection with that world. Listening to it made it very easy to visualize the anime universe. You could picture the chaos and confused cuteness of monsters throwing up rainbows turning into stars shooting across an infinite sky and so on.
Overall the performance was effective at showing his interpretive perspective of the Japanese cute culture and the media and entertainment that it generates. His performance used multiple sources of media in interesting ways, yet he could have made more use and integrated them a little more into the show. The interactivity between him and the projections were lacking and could have been pushed farther. The whole performance was very visually stimulating and the audio had a great presence and feel to it, the use of the media involved just could have been done more effectively and would have created a greater result.
While the performance incorporated a strong new media theme involving interacting with projected characters and seeing someone have a multiple ended conversation with oneself out loud, the techniques could have been better used and more integrated into the performance. The few interactions he had with the drawn anime were too subtle and could have been utilized much more heavily throughout the show. The majority of the time the anime didn’t have much to any of a connection with what Wade was doing or the spoken word that was being said. Also, the interpretive dance while obviously abstracted was hardly ever connectable to anything else that was happening. I felt the strongest part of the whole performance was the spoken word in the background. Since the show was based off a theme of anime and manga, the spoken word seemed to have a powerful connection with that world. Listening to it made it very easy to visualize the anime universe. You could picture the chaos and confused cuteness of monsters throwing up rainbows turning into stars shooting across an infinite sky and so on.
Overall the performance was effective at showing his interpretive perspective of the Japanese cute culture and the media and entertainment that it generates. His performance used multiple sources of media in interesting ways, yet he could have made more use and integrated them a little more into the show. The interactivity between him and the projections were lacking and could have been pushed farther. The whole performance was very visually stimulating and the audio had a great presence and feel to it, the use of the media involved just could have been done more effectively and would have created a greater result.
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