Grand Text Auto

Next Tuesday, January 31st, new media curator and digital art scholar Christiane Paul will be speaking in Loew Theater at 4:30pm. She will be presenting a talk titled “Feedback: Histories of New Media Art,” sponsored by the Digital Humanities Initiative and the Department of Studio Art.

Christiane Paul is the Director of the Media Studies Graduate Programs and Associate Professor of Media Studies at The New School as well as the Adjunct Curator of New Media Arts at the Whitney Museum of American Art. She has written extensively on new media art and technology with publications like Digital Art and New Media in the White Cube and Beyond. At the Whitney Museum, she has curated shows like ”Cory Arcangel: Pro Tools” (May 2011), “Profiling” (2007), and “Data Dynamics” (2001), and the net art selection for the 2002 Whitney Biennial.

Imagine that you could make a person suffer, and no one would ever know. Would you do so? Were you to pose that question in person, few if any would claim to exercise such a power. But wipe away any identifying factors, and give the respondent total anonymity—how will they respond?

How can art be used to raise awareness of problems in society?  There are many methods artists can pursue to address social issues, but for Kenneth Tin-Kin Hung, the answer lies in animation and digital collages.

Kenneth Tin-Kin Hung

Radical Books of 2011, 10/10

Big Questions, Anders Nilsen, Drawn & Quarterly, 9781770460478

I have always thought no connections existed between art and subjects like biology, mathematics and chemistry. I thought these subjects to be independent of one another. It was not until I read about the early experimentation of American artist Charles Csuri or the artwork of Joseph Scheer that I realized I had been creating art in classes like biology and chemistry. Charles Csuri used wave functions to digitally modify the reproduction of landscape, while Scheer used a scanner to scan the bodies of moths. When I first saw the artwork of Scheer it made me think of Lepidopterists, scientists that studies butterflies and moths, or even a collector.

Radical Books of 2011, 9/10

Pale Fire: A Poem in four Cantos by John Shade, Vladimir Nabokov, Ginkgo Press, 9781584234319

Imagine that you could make a person suffer, and no one would ever know. Would you do so? Were you to pose that question in person, few if any would claim to exercise such a power. But wipe away any identifying factors, and give the respondent total anonymity—how will they respond?

Radical Books of 2011, 8/10

You Can’t Have Everything… Where Would You Put It!, Bruce Andrews, Veer Books

There is no way this book will get past your spam filter:

facework cootie itsier-off
we are the dream sequences in your conventional cultural life -

Indeed we are. Here’s verbal salad (French dressing? Russian dressing?) shot through at times with lines of split and reassembled words:

zy^rit
sect^in
sing^franchi
cres^offi

What is interactive art? I’ve always thought art was something one admires from the perspective of a passive observer. But recently, I’ve learned that there is a category of art called new media art which challenges this traditional framework. “New media art” is a term used to describe  nontraditional forms of art that have evolved with technology. One of the most interesting types of new media art that I have read about is “interactive art,” which allows the audience to physically interact with art pieces to create some sort of effect. Interactive art usually involves the use of digital technologies that were not present until the past few decades.

This Thursday, January 26th, humanities scholar and Duke professor Cathy Davidson will be giving a talk here at Dartmouth, at Filene Auditorium in Moore Hall at 5pm. She’ll be discussing her latest book, Now You See It: How the Brain Science of Attention Will Transform the Way We Live, Work, and Learn.  

According to Davidson, “distraction is your friend.” Our brains aren’t linear, and disruptions can be welcomed. Within the midst of immense technological change, Davidson emphasizes the synergy of collaboration by difference. Collaborative digital learning and distributed multitasking become essential for 21st century learning. She advocates for re-envisioning our Industrial-age institutions, a crucial update necessary for a new world of constant connectedness, information overload, and global collaboration.

We are still discovering the possibilities that “new media” art can contribute to our art culture. With new media, which is distinguished from other art by its dependence on, or integration with technology, one attribute that has completely consumed me is the interactivity of some new media art.  In my “New Media Theory and Practice” course at Dartmouth College, we observed different works where interactivity was the main component of the piece.  For example, one artist projects video footage into people’s shadows who are walking around in a town square.  Camille Utterback and Romy Achituv ‘s 1999 work  text rain incorporates participation: people stand in front of a screen with falling letters that, once caught on part of one’s shadow, begin to form words.

Most users of the Internet by now know about the Stop Online Piracy Act (SOPA), or House Bill 32611, and the Preventing Real Online Threats to Economic Creativity and Theft of Intellectual Property Act of 2011 (PROTECT IP Act or just PIPA), or Senate Bill 9682- after all, when English-language Wikipedia blacks out people are going to notice. Joining Wikipedia in the act of protest were such sites as Reddit, Google, Mincraft, and many others. At this point it would be quite a feat for any wired member of the English-speaking world not to know that, for once, the Internet community at large has rallied around a cause.

Often, artistic pursuits are described as abstractions. They are interpretations of material. Rarely are they thought of as scientific pursuits. However, there are many new media artists who take it upon themselves to bridge the gap between what is seen as science and art. Especially when dealing with digital art, where so many computations are made to display the graphics we see, science can often be not the medium but also the subject of many artworks. Joseph Scheer and Andreas Müller-Pohle each have different takes on what scientific art entails.

To immigrants, Tijuana marks the frontera, or last stop before entering the United States. To American tourists it’s known as “T.J.,” a place to get inexpensive pharmaceutical drugs, dental work and plastic surgery. If you’re a visitor you become acutely aware of the “safe district” and the “not so safe district,” depending on how you see it. But few visitors venture beyond Tijuana’s main drag known as “Avenida Revolución.”

Women workers in maquiladora factory

A New Avenue for Change

It turns out you don’t have to camp outside in a tent in frigid climes to pitch a successful protest. The Electronic Disturbance Theatre has been doing them comfortably since 1997. Using simple technologies such as E-mail, HTML, and Java, the EDT has managed to launch a series of “denial of service attacks” on corrupt regimes from the Mexican Stock Exchange to the World Trade Organization. These attacks focus not on the places themselves, but on their websites.

The Medium Involved

But my credit card company says otherwise…

My new media art students will be posting over the next 8 week a series of introspective blog posts on digital/ new media artists. Our aim is to post one every day or every other day. Enjoy, comment, discuss!

Our rather populous Winter Team (12 of us) has begun a new round of design and development for our STEM Bias project. No genre is left out: board games, card games, iPad/web games, and of course, performative games!

Meet Zara, our design guru; Jasmine, doing a balancing act; and Andrea and Viviana, busy modding!

It is currently a “Tiltfactor Week”: Our own reality show! Teams have a week to research and prototype a concept to playable completeness. It might not be pretty–it is raining ice outside, we’re disregarding any sense of game aesthetics, and if you ask about the hours of hard work students will put into project games–you may hear groans. But– I think our players will be happy with the results!

We are very excited to announce that Prom Week has been nominated as a finalist in Technical Excellence for the 2012 Independent Games Festival!

We’ll be posting more info about Prom Week, how it works, and information about our release date soon.

Whooo hooooo!!!

Wednesday January 18, 2012 4-7pm
304 North Fairbanks

Come greet the new year with the folks behind Dartmouth’s Game Research Lab for an open house! Play video games and board games! Meet our student designers, staff, and founder Mary Flanagan– and play games! This time we will be playing Kinect games, and showing our own new games including POX for iPad and prototypes for our gender stereotyping and STEM field-related games, and we’ll discuss our new after school programs in Lebanon! And, we’ll play XBOX Kinect games and eat Thai food!

Huzzah!

Dene Grigar, vice president of the Electronic Literature Organization and one of the organizers of the excellent e-lit gallery and reading here at the MLA Convention, just gave a great presentation about the importance of platform in the development and reception of electronic literature. I was pleased initially to see that there was not only this presentation with “Platform” in the title, then very interested to hear about her work in a lab with original older computer hardware and her discussion of platform differences and changes through the years.

Radical Books of 2011, 7/10

Silence: Lectures and Writings, John Cage, 50th anniversary edition, Wesleyan University Press, 9780819571762

I recently gave a talk at the ASAP/3 conference that sketched the history of computers as tools & playthings. I’ve learned my lesson on giving dominantly visual talks: if you don’t have good notes then they are a major bummer to give in the future, plus nobody else can read them. What was I thinking when I made a slide with two blue arrows on it? You’ll find that you can basically read my notes off each page of the pdf: it’s almost exactly what I say during the talk. You’ll have to imagine my voice though. Two video segments (one of John Cimino showing off the Spore Creature Creator, another of Steve Jobs discussing computers as bicycles for our minds) are missing, but otherwise it’s complete. From the talk:

Radical Books of 2011, 6/10

Galerie de Difformité, Gretchen E. Henderson, &NOW Books, 9780982315637

Cross the form of a Choose-Your-Own-Adventure book with fragmented, cut-up, torn-up, stretched, and unconventionally printed text. Skip the “of” of an English title and give it a French name, using the “de” form. Bend book into blog. Deformity here includes transgressing the boundaries of authorship and inviting “user-generated” fascicles. Work the book’s text into something despicable or respectable: Fill out the form. Click to put Ye Ugly Face on Facebook. The story’s play of conspiracies and resurrections resonate with the transformations of the reading process that book and reader enact. Further, the exercises in textual topology – and lettered exhibits calling for further deformation – show that remixing is not just for one-note works such as Dramatic Chipmunk. The book, and indeed this thoughtfully developed artist’s book, can also serve as seed for elaborate transformation and convolution.

Radical Books of 2011, 5/10

Holocaust Museum, Robert Fitterman, Veer Books, 9781907088346

Here is an extraordinary list, a simple and straightforwardly organized book of metadata (in this case, photo captions) that gives a very detached view of the 20th Century’s most unthinkable occurrence. What is fascinating is that while the book comments on some of the tropes of memorials, Holocaust museums, and records of trauma in general – enumeration, detachment, clear identification and humanization of individuals – it nevertheless becomes an effective testimony of the Holocaust and of how it was inextricably involved with ordinary life and events and histories, beyond the horrors that were ordered and organized: