NMR pp 599-798

In this portion of the text, one commonality I found was that of how the computer alters the way we write. Authors such as Robert Coover, Espen J. Aarseth, and J. David Bolter examine how the computer (and specifically web) allows for writing similar to a hypertext novel. The ability to link to other sites, pages, and related stories is the closest we have come to creating a hypertext, and the "novel's" narrative is up to our choosing. No longer does text bear a fixity or illusion of permanence. Now, we're seeing the opposite occur. Our old emails are deleted or disappear into the realm of cyberspace, and blogs, comments, and contributions on the web can be easily altered or cancelled.

Reading hard-copy novels provide an in-depth account of a story or idea. To read a book requires an investment of time and patience, and trust in the author. By reading on the web, the "scrolling" nature of webpages lets us skim at ease. We're also able to quickly link to other pages that contain similar ideas or content, and we can find more background information about the author and his or her sources.

Writing on the web is easy to do, with sites like Blogger and the ability to comment on almost any article. Yet the notion of audience has affected how we write, as millions of people can read your web post. The notion of author has also changed, since our name can be changed to a pen name or screen name. In this sense, our writing is more powerful and liberated, yet the impermanence of the format and massive volume of entries makes it hard to stand out from the rest.

nmr pp 515-598

Langdon Winner's essay "Mythinformation" looks into the vast social changes brought about by pervasive technology. For the most part, his predictions seem on the mark especially when he discusses the public's reliance on technology, and because of the need for it we begin to overlooks some of its potential flaws. Privacy is an issue that Winner discuses, "Unless steps are taken to prevent it, we may develop systems capable of a perpetual, pervasive, apparently benign surveillance" (596). This surveillance is what he believes society will submit to because of a collective feeling of "passivity" and "compliance." I think his words here are telling because I find myself in situations online where I enter personal information or details casually, without thinking of who is going to be looking at my information. So much of the web can be accessed only with an email address and user information, and we readily hand it out without considering the dangers of releasing personal details.

I really like his last line:
"Some observers forecast that 'the computer revolution' will eventually be guided by new wonders in artificial intelligence. Its present course is influenced by something much more familiar: the absent mind."

nmr pp 441-513

In my class Culture and Communication, we read an excerpt from Marshall McLuhan's "The Global Village." In the chapter entitled "Global Robotism: The Satisfactions," McLuhan writes that the model for easier instant peer-to-peer communication will foster coming together, of both people and companies. Today, we're seeing the rise of conglomeration and business mergers, with the online format making it easier to undergo this process.

Bagdikian predicted what has become a world where only a few companies own just about everything. They have stakes in both major industries and media outlets, which jeopardizes content because of conflicts with self-interest and biases. The internet, which has broken all the rules by being completely free and supported by its individual users has spawned giant companies such as Google, YouTube (now owned by Google), Blogger (also owned by Google) MySpace (owned by NewsCorp) and Facebook.

The internet can slowly turn into a network of highly-trafficked sites that own and record all of the information that is published on them. Google's searches are manipulated by clicks and dollars, but there isn't a search engine at the moment that would be an effective alternative. Being bought-out is often a dream for those who create internet-start ups, as they are awarded a lump sum for something that was first created with money out of their own pocket. It's important to be aware of these mergers and acquisitions in webspace, because we so readily assume that the internet is a perfect service, while in fact cyberspace can be very much privatized.

nmr pp 377 - 439

In this section of the New Media Reader, the computer is already a familiar concept (late 1970s) and people are beginning to envision a world that is increasingly reliant on these machines. Several chapters in this selection (namely Ch 25 "Responsive Environments" and Ch 28 "From Mindstorms Children, Computers, and Powerful Ideas") introduce the idea of the computer as a teaching mechanism for children.

This concept is novel at the time, for media learning was limited to television shows such as Sesame Street, which began in 1970. The benefits of watching this program is debatable, as a child will stare at animated letters but might not gain an understanding. Both Krueger and Papert believe that the artificial realities and programs on the computer can stimulate the child's mind in ways that cannot be taught in real life. Being able to use the computer adeptly is a strong skill set to have, especially in these early digital days. However neither author examines the downsides to this method of learning. I don't think either of them support an education based around the machine, but rather to supplement learning.

A young child needs to develop socialization skills by playing with their peers and taking cues from adults, not spending hours on the computer. When I was younger, we used educational computer games both at school and at home. A Mario program taught me how to type properly, and Math Blaster taught simple algebra. These games were designed specifically for the single player, and would reward progress by granting access to the next level. Today these games are more advanced in stories and design, and can support multi-player formats. They are more addictive than ever, and educators and parents alike should be aware of the drawbacks of children who spend too much time in front of the screen, rather than outside playing with their friends. Experiential learning cannot be measured like a game can track progress, but I think the socialization skills become more apparent as the child grows older.

mcluhan's wake dvd

Reading McLuhan, his beliefs are strong but often disconnected between one chapter to the next. He devoted his life to creating awareness about the effects of media on our society, almost a warning to the future that is to come. "McLuhan's Wake," narrated by Laurie Anderson sheds light into the personal life of McLuhan in an attempt to understand his thinking. A notable feature of his life is his devotion to the Christian faith, a decision he chose to make later in life. This news makes me reconsider many of his statements. To choose to study the bible as the word of god and to let the writing dictate his life is very similar to the one-way transmission of television that he so adamantly warns against. In addition, he continues to fight throughout his life just to preach his message about media, despite university colleague's disapproval and major illness. His books and ideas seemed to him as a way to "save" the public from the evils of media.

It's interesting to analyze his thoughts now, in the internet age, as the democratized internet format turns the one-way television message upside down. Though, his concerns about advertising are still very relevant since agencies are increasingly trying to find more insidious ways to integrate their ads.

new media reader pp 301-375

When I stumbled across the chapter on Nicholas Negroponte, I was only familiar with his name from the One Laptop per Child campaign. This organization aimed to give children in developing countries low-cost, durable and wi-fi connected laptops. With this technology, these underprivileged children would be given an education previously unthinkable, and hopefully provide inspiration for them to better both themselves and their communities.

Reading the thirty year old article from the New Media Reader, I saw an underlying theme of user empowerment through software–a belief that ultimately led to the OLPC intiative. His architecture program made it possible for residents, not just the architects to have a say in the creative design and vision of the final structure. By adapting advanced procedural and often professional tasks to simple computer programs, it empowers the computer user (who is often self-taught) and makes it easier for individuals to achieve success and create change.

g.h. hovagimyan lecture + demo

G. H. Hovagimyan began his lecture by
distributing newspaper handouts. The papers described demonstrations by a group of artists (artistsmeeting.org) including G.H. that brought attention to the irony and injustice that is privately owned public space. Outside of every major office building is a space with benches and some neatly planted trees or plants. Very rarely does anyone ever use this space, to sit in or otherwise, even by the people who work in the overshadowing building. What G.H. and other artists try to demonstrate, or draw light to, the heightened security that these sites maintain in a post 9/11 world. Simple and innocent acts such as putting up posters, using a video camera, or conducting an experiment constantly draw negative attention by these guards. Herein lies the contradiction that is privately owned public space--where the private interests of protecting and safeguarding their property comes into direct conflict with the public who try to utilize it. By uploading videos of these accounts to YouTube, more people are being made aware of this irony and ultimate unfairness, leading to possible social and legal improvements.

Living and Working with Rauschenberg - a conversation.

On October 26, the Museum of Modern Art honored the life contemporary artist Robert Rauschenberg, who passed away earlier this year. The evening consisted of a panel discussion of "Bob's" close friends and collaborators, each of them with artistic legacies of their own. Panelists were as follows:

Glenn Lowry- Panel moderator and current director of the MoMA.
Barbara Rose- Art historian and critic
James Rosenquist- Contemporary artist
Julie Martin- Artist, produced 9 Evenings (married to Billy Kluver)
Trisha Brown- Choreographer (including "Set and Reset," of E.A.T.)
Merce Cunningham- Choreographer
Susan "Sue" Weil- Artist once married to Rauschenberg
Brice Marden- Contemporary artist, once assistant to Rauschenberg
Dorthea Rockburne- Artist
Darryl Pottorf- Artist, former assistant

The discussion began with Barbara Rose's thoughts on artistic greatness. She explained Rauschenberg's admiration of Leonardo da Vinci, and how both 'personalities' lived and worked in the right moment for their ideas to fully take effect. Each artist's intent was not to merely produce physical works, but to inspire the hearts and minds of the public and challenge our thoughts on politics, society, and the world.

In his early career, Rauschenberg attended Black Mountain College in North Carolina. The school focused on art education with a liberal arts background. During its operation between 1944 and 1956, notable alumni and teachers included Rauschenberg's idol Willem de Kooning, Cy Twombly, Susan Weil, Dorothea Rockburne, Merce Cunningham and John Cage. Relationships formed here influenced many of these artists' later work.
A collaboration between Merce Cunningham, composer John Cage, and Rauschenberg resulted in the first happening, Theatre Piece #1 staged in 1952. Later Rauschenberg would collaborate with Cy Twombly, on a happening performance in which the two rewrote the play Hamlet. One notable work created in part by a Black Mountain connection is "Erased de Kooning" (pictured, left). De Kooning was both a professor at the school, as well as one of Rauschenberg's main influences. For this piece, Rauschenberg asked De Kooning for a drawing which he would then erase. De Kooning complied with an especially difficult work.


E.A.T. (Experiments in Art and Technology) was a 1966 collaboration with Bell Laboratories engineer Billy Klüver, Robert Whitman, Fred Waldhauer, and Robert Rauschenberg which used new technologies in a series of exhibitions around the world. Their intention was not to simply showcase technology with art, but to encourage audience participation where their actions influenced the work, much in line with the non-hierarchial and cooperation values of the 1960s. In effect, these experiments could create a societal revolution by humanizing technology previously unavailable to the public, where its uses and implications could change the way we live and think.

One of the first E.A.T. exhibitions was the "Machine That Destroyed Itself" (1960), Klüver's collaboration with Swiss artist Jean Tinguely in which a kinetic sculpture machine destroys itself in the Museum of Modern Art sculpture garden. Another example is "Oracle," (1962/65) or five radios embedded into sculptures which the viewer can "orchestrate" through interaction. For this piece, Rauschenberg demanded radios without wires, three years before this technology was invented. As a result of this artistic vision, Klüver was forced to come up with this technology. "9 Evenings" (1966) theater and engineering performances at the Armory in New York brought together over thirty artists. "Soundings" (1968) relied on the audience's clapping or yelling to trigger lights that illuminated works behind a series of plexiglass panels.


Pepsi Pavillion at Expo '70 in Osaka, Japan is viewed as the culmination of the E.A.T. project, where they designed and programmed a multimedia immersive dome (pictured, left). The dome's design is an origami rendition of a geodesic dome. The exterior is shrouded in a fine mist sculpture, that changes with the weather. Inside, the exhibition predates experiments in virtual reality and audience participation. Installations included laser beams and a 210-degree spherical mirror inside an airtight vacuum, that reflected what looked liked hologram images. In addition, a multi-channel surround-sound system played real-time music compositions. Floats by Robert Breer roamed the area, emitting various sounds like sawing or singing humpback whales, and would reverse direction when pushed.

This expo helped show the world how it is possible to interact with technology, and how in a multitude of ways it can alter our perceptions of ourselves and surroundings, ultimately changing our preconceived notions of how we live and collaborate.

Robert Rauschenberg dedicated much of his later career to philantrophic efforts. He passed away on May 12, 2008 on Captiva Island, Florida after making the personal decision to be taken off of life support. He was 82.

A memorial on the following Monday was held for Rauschenberg at the Metropolitan Museum of Art, which included a brief speech by former President Bill Clinton.

new media reader pp 230-300

Hans Magnus Enzenberger's essay, Constituents of a Theory of the Media, exactly predicts the beginning of the end for the entertainment industry. He argues that big media conglomerates push their messages down our throats, and make us accept an unjust society. Television advertising, especially during the 1970s became obsessed with what you didn't have, and played off of fear for you to buy it, contradicting the earlier model of just selling a product by praising its uses. Advertising began to be something like, "if you don't buy this whitening toothpaste, you'll look ugly and have no friends," essentially inventing a 'need.'

Enzenberger says that the only way for the media conglomerates to fall would be to pick up our own camcorders and begin documenting, or creating our own media, of the injustice ourselves. Fast forward thirty years later and the YouTube generation is doing just that. The internet is rampant with piracy and self-produced (free) content that is becoming more popular than big-business produced media. The big guys can't get their heads around a business model to make this stuff profitable, and "joe the plumber" types are getting their fifteen minutes of fame. The years of skepticism and resentment toward standard tv programming and movies for that matter are experiencing the backlash of money-hungry people they make themselves out to be. $12 each for a theater ticket plus snacks is not a casual date anymore.

Hopefully this trend away from big media companies will teach them a thing or two. Maybe they'll lower their prices or create some content that's not just a safe sell.

new media reader pp 177-229

This passage in the New Media Reader brought us into part two of the textbook, titled "Collective Media, Personal Media." The first of the three selections is "Oulipo," a sonnet written while adhering to algorithmic techniques, and followed by part two's Marshall McLuhan excerpts and a passage on Experiments in Art and Technology (E.A.T.). In Gallatin classes prior to this course, Marshall McLuhan has served as the go-to guy for new media studies. He is remembered for saying "the medium is the message," but he saw beyond the fascination 1960s America had for television, and outlined its effects. The tv set was seen as something dangerous for its one-way stream of information, one in which provided no sort of engagement or discourse. This is just one example, but I'm going to veer away from McLuhan since many of us are familiar with his work.

Chapter 14 profiles the Experiments in Art and Technology (E.A.T.), of which I was previously unfamiliar. To combine art and technology seemed like a pivotal step in advancement (for both fields) during this time period, and the group was founded by artists and engineers Robert Rauschenberg, Billy Kluver, Robert Whitman and Fred Waldhauer. Together they staged a series of performance pieces, exhibitions, and open discourse. Their exhibition "9 Evenings: Theatre & Engineering" which introduced new inventions like wireless microphones embedded into tennis racquets during a match. I googled this particular exhibition, and was amazed by the futuristic, ominous sound of the echoing balls, and the inspiration behind the integration of new technologies into art such as this.

Check it out here:

new media reader pp 109-176

The article that stood out to me the most in this section of the New Media Reader was "The Construction of Change" by Roy Ascott. Inspired by Wiener's cybernetics views, Ascott decided to reinterpret the way art was made and taught. He introduced "procedural technology" to the art making process, from inspiration through creation, and the interaction throughout. This participation by the audience, or behavior, becomes an integral part of the work. Ascott designed teaching situations where Cybernetics are involved, or by paying attention to the behavior of the environment and how each element acts within this realm.

He poses problems to students which test their ability to perceive, reinvent, and interpret. Logic and behavior are also prompted in assignments that test the student's ability to answer abstract questions, and how they react and communicate with their peers. In the second year course, students are asked to change their personality for ten weeks, (i.e. changing from a shy personality to outgoing). Throughout this experiment they must create a visual documentation of the process. This challenges the resourcefulness, awareness, and creative ability of the participants. In so doing, science's study of analyzation and subsequent synthesis is not foreign or unrelated to art, leading to Ascott conducting one of the first studies on 'new media.'

ken perlin lab tour

Ken Perlin, tech genius whose work we continue to see and use on a daily basis, invited our class to his lab last week. With the help of two of his assistants, he showed us two projects he's been working on. The first project is kind of like a mouse pad, a cheaply-manufactured plastic pad that senses pressure. When touched, a digital representation of pressure is shown on screen. Running your fingertips across the pad generates small moving mounds, while a firm and unmoving press will create a mound that builds higher and higher. Ken pointed out that this technology could be used to create computer graphics, especially landscapes or terrain. It can also be used in architecture to detect how a building's weight is distributed. The same goes for a person who may need special shoes or orthodics. Because it's so cheap to use and manufacture, the applications are limitless.

The second invention he's working on is a gaming controller made of two handles attached to resistance cords which you pull down on from the ceiling. You put one in each hand and pull on them independently, controlling your character on the screen. It can be used for flying games, skiing, or anything that requires this type of pose. The example game was a bird you had to steer through floating circles. It looked fun, though I'm not sure how you can put the controller box on your ceiling at home. Ken pointed out that he could only show us work that is being done in collaboration with NYU, so I'm sure he has more tricks up his sleeve.

It was fun getting to see what his lab looked like, and to hear his thoughts about technology in the future. I was pleased to find someone more down to earth and well-spoken than what I imagined a famous computer innovator/inventor to be.

new media reader pp. 73-108

Chapters five through eight in the New Media Reader are organized chronologically, taking place in the early 1960s. What I found within this section is that each new media artist or innovator had an underlying theme of creating something democratic, something that brings us closer to equality and is free for anyone to use.

The first chapter is about J.D. Licklider's idea of computers as facilitating human interaction with speech and handwriting recognition, for more effective and efficient communication. Next, is "The Happenings," or arranged performance events which aim to gather people and artists and break down the performer/audience dichotomy. This is followed by Gysin's Cut-Up method, a form of artistic literary expression that points out, "anybody can make cut ups." The eighth and final chapter discusses Douglas Engelbart's creation of computer interfaces, which are designed to help the user understand how to use the computer and to operate all of its functions.

So although these creators of new media and technology are predicting a heavily technologized, computer-reliant society, their basic aims are on a purely societal level. Each author values the importance of the computer-user, their ability to use and understand the machine, and ultimately their ability to participate in a collective.

to the letter born

I remember reading this article when it first appeared in the Times. I've admired Barack's stately and dignified yet very 'of the moment' style, and I think his brand managers have perfectly portrayed this through his campaign images. The liberal space on the page gives it a sense of freshness and light, and the serif capitalized OBAMA is very official. My one concern is that the typeface for CHANGE, Gotham bold, is exactly the same face that Chanel uses, and both words share the same four letters. Every time I see CHANGE I think of CHANEL. I like how he uses Comic Sans as an example of making a word seem lightweight and silly. I don't trust anything written in Comic Sans.

helvetica

I'd always wanted to see this movie, so I was excited when it was presented in class. I've always been interested in graphic design and typography, and enjoy doodling new typefaces of my own. I've noticed how Helvetica has risen in popularity, and is often used as the norm or standard, creating somewhat of a blacklash to find the newest simplistic, most modern typeface. Watching the subtitles at the bottom of the screen was distracting for me, because the interviewees are constantly talking about type, it's hard to ignore the horribly crowded, skinny white letters outlined in black on the bottom. It's exactly what the designers hate.

I liked the interview with Massimo Vignelli, who recently redesigned the NYC subway map for Men's Vogue. His design is easier to read, and the stations are spaced graphically rather than geographically, like most metro maps outside of New York. Here are some examples of his work:
http://www.mensvogue.com/design/slideshows/2008/05/vignelli

The current NYC Subway map was based on a Vignelli design, but reinterpreted by Michael Hertz. Here's the link: http://gothamist.com/2007/08/03/michael_hertz_d.php

eyebeam: joo youn paek

When I went to the Eyebeam gallery I had to leave early to get to class, so I was unable to see all the works at the Untethered exhibit. Some of the works I was able to enjoy was the interactive large pinball machine and the paper notices on the telephone pole, which told stories of experiences if you called the phone number. I was able to check out some of the artists from the website, and I stumbled upon Joo Youn Paek, whose work "Fold Loud" is currently on display. She has combined the meditative properties in origami to vocals, creating origami paper that sings soothing voices with each fold.

303 gallery: doug aitken

Upon entering the 303 gallery space, the viewer's senses are overwhelmed by an all-surrounding darkness except for three giant projection screens, spaced behind one another. A booming, undulating bass beat permeates the space and creates a feeling of danger and immediacy, to wake up. Projected onto three rectangular billboard-shaped screens is Doug Aitken's work of wild animals placed in a decidedly commonplace environment: a motel bedroom. The first scene is of an otter washing his face inside the motel's bathroom, filmed with exquisite attention to detail and a strong cinematographic eye. Many of these shots are extremely close-up, making you wonder if the tub water is actually from a zoo's tank. The juxtaposition of the animals in the bedroom generate a strong feeling of uneasiness. They don't want to be there as much as you don't want them there either. A good example of this is the female lion, tearing apart the bed's pillows in captive rebellion.

I thought this was amazing.

nicholas robinson gallery: michael zansky

"The Western Lands" is Michael Zansky's exhibition at the Nicholas Robinson gallery, which shows spinning still-lifes distorted in through freestanding lenses. The weird and absurd still-lifes show a mixture of broken toys and figurines sitting atop heavy fabric. The lenses can either show the work miniaturized, or many times larger than actuality. In the front of the gallery stood a grouping of these works with a much lighter color-palette. This created the illusion of rain drops, with life slowing moving through them as if on the window of a moving car. My favorite work, however, was of a rapidly moving confection of pink tulle, ribbon, and a fairy wand. Instead of projecting ugliness, this clearly channeled a childhood innocence and was strikingly beautiful as it whirled around. The work spun faster than the rest, and was accompanied by several lenses, distorting it in many ways.

sara tecchia: david fried

David Fried's sound sculptures are amazing because of their design. If there were a simple explanation to the way the balls moved in reaction to sound, it would just look like a bigger version of something you'd find at the Sharper Image. However, because the technology is his own and esoteric, there's a sense of curiosity that makes the piece very fresh. What makes it "interactive" is the human component of generating sound to make the spheres move. I liked what Sara had to say about people yelling and screaming at the balls, completely oblivious to everything else, simply to generate any kind of reaction.

bitforms: politics as usual

R. Luke DuBois' exhibition "Hindsight is Always 20/20" sheds light on the political and social discourse throughout American history. He developed an algorithm that processes every state of the union address given by each president, and finds which words were used most by each president. DuBois then visually translates this into a pseudo-eye chart, where the most commonly used word is in bold at the top of the chart, and the lesser-used ones are shown smaller towards the bottom. You can see the evolution from words like "emancipation" and "slavery" to "drugs" and "terror." One thing I didn't like was that DuBois omitted words that were common in more than one address, in order to find a vocabulary unique to each president. I find this misleading, since seeing the cyclical nature of history is worth observing.

Also at his exhibition was a sound piece that stretched out the national anthem for four years, creating a white-noise effect. It didn't have enough range for me to want to listen, but the concept was nice. The idea of stretching out a song has been done before though, with Wagner's Ring Cycle opera.

gehry building

The Gehry building that looms over the westside highway in Chelsea reminds me of an imposing iceberg. It's said to resemble the wind in the sails of ships, though you don't see too many sailboats across the street. I like the dynamism and motion of the building, plus I think the glass facade which looks like frosted or fogged up windows is cool. I wonder what the space looks like inside, since it appears to arch backward. This kind of resembles a non-metallic, slightly less cool Walt Disney Concert Hall, over on the West coast. And when I say slightly less cool, I mean a lot less cool. Check out this photo for comparison:

littlebigplanet

LittleBigPlanet is a videogame that allows players to alter the design and format, and then upload their work on the web. This customization and web sharing is part of a larger trend, and applying it to videogames seems like a guaranteed success. Not only would it allow for more buzz to keep the game cool for longer, the customization aspect would be a great wealth of knowledge for video game developers. Being able to watch what's being produced and shared is an easy way to find out what the public wants, and in turn they can create games that are better suited to the public's interest.

issuu

Issuu (pronounced 'issue') is a website that allows magazine creators to upload their pages, expanding their viewer base in a digital format. If you're a magazine editor or creator, having this new venue is great for those who are out of the geographical reach of the hard-paper copy. However, reading magazines online is not the nicest thing to do. Issuu boasts that it's viewing capablities are superb, and maybe they are compared to what else is out there, but I found the viewer frustrating. The cursor jumps around, and you need to zoom in to maginfy the text, which isolates the visuals or what's on the other page. Also, print is designed in columns, so you need to go up and down repeatedly. This is a great tool if you already have a magazine and want others to check it out, but in no way does it replace or substitute the paper copy, unless the format was altered to look more like interactive web pages.

psfk.com

PSFK is an international trends and innovation company, where they publish stories online that deal with new technologies, social change, and other thought-provoking and inspiring new stuff. I enjoyed reading what was published on their front page. It's varied and allows you to pick and choose what you want to read or watch in further detail. These popular stories are kind of like a more positive and innovative form of Digg. People should find out about this, I just wish the name was a little easier to remember.

cocoon

The Immersive Cocoon is a full virtual reality experience, where the user enters a cocoon-like pod and is immersed in digital screens and surround sound. A motion-detecter reads your body and eye movements which control your actions. The gaming possibilities would allow the user to become the character that fights off evil and can perform super-human feats. I worry that people would get hooked and spend too much time inside. When you're completely immersed inside this machine, the adrenaline from the game is addicting and you're sealed off from reality. This could lead to the same kind of escapism that drug users look for. Also, the possibilities of these "games" could enter the sadistic or pornographic realms. However, it could also be a teaching device, mimicing historical sites and events. I'm interested to see how this all develops.

the future of gaming

The next generation of gaming will is in your mind, literally. The Emotiv EPOC headset is your new controller, sitting on your head and taking cues from activity in different parts of your brain. This allows you to control your character on the screen, semi-subconsciously I would imagine, and allow you to interact with other live gamers. The technology behind this advancement is still very new and can only read up to thirty different emotions, expressions, and actions. To be able to control your character in this way eliminates the detachment of the mind-to-hand controller action. Instead of being able to screen your thoughts before ultimately deciding on the best choices to make, this immediate reading of the brain turns your character into an extension of self. Participating in imaginary worlds with other gamers will make this whole experience much more "real." This could turn people off from enjoying the disassociation with a second-self or made-up character, that enables them to act differently than they would in reality. On the other hand, this sort of quasi-reality could be addicting for others, and maybe a replacement for face-to-face social interaction.

new media reader pp 35-72

On Vannevar Bush: His concept of the walnut-sized camera that is able to take tiny photographs (100 at a time) is silly to think about today. A camera within a cellphone has a greater capacity than what he describes. It's amazing to marvel on the technology that we have on our fingertips today. His greatest concept, of the "memex" is brilliant not only because of how well he articulates and explains the device, but for realizing the importance of remembering the history of searches. This feature, which allows the user to recall past lists or search history, essentially recalls the user's train of thought. It is this feature that makes the "memex" not just a functioning library of one's life, but also a wealth of nostalgia within itself.

On Alan Turing: A thinking computer is a concept that worries me, but to Turing, it's an achievable goal. The way he has imagined a computer is one that is able to discern man from woman, or can play games and solve riddles. The idea of a machine that is capable of real thought, raises many ethical questions. Turing doesn't mention any of them - and also fails to address the consequences of a human mistaking a computer for another living being.

On Norbert Wiener: Wiener raises a strong point when he says "we realize we cannot worship the gadget and sacrifice the human being to it, but a situation is easily possible in which we may incur a disaster." He says we should be able to step away from the machine/gadget and enjoy our leisure time. Otherwise, we can easily become overpowered by and succumb to machines who have grown much greater and smarter than us.

borges documentary

The scattered, "hypertext" style of the Borges documentary was admittedly a little hard to follow, but it stays true to the Borges philosophy. The scenes of a poker game gone array juxtaposed with Borges interviews and childhood flashbacks aim to paint a landscape of the author's idea of "forking paths," where with each direction that is taken, time continues in the alternative choices. Seeing Borges act as sharp as a tack despite his old age and blindness was impressive. He maintains a well-kept exterior and can switch between Spanish and perfect English. I would have liked to see more of his daily life, including interiews with those closest to him.

microcosmos

Planet Earth, ten years earlier. I'm astonished that the film was neglected at the Oscars, though it garnered several César awards (and was nominated for best picture). The technology that was used to capture such close-up imagery must be used by the now world famous Planet Earth, I'm surprised that this film isn't as well-known. I like how the directors chose to show the insects in a kind of fairy-tale kind of way, with the opening descending from the clouds. Each segment about the insects each told it's own story, whether it were the canoodling snails or hungry ants. It's fascinating to watch, and I'd be even more interested in how it was made.

TIMELINE

01. The Garden of Forking Paths
Jorges Luis Borges, 1941
- Inventor of the concept of a hypertext novel, which can be read in many ways
- Hopscotch (1963) by Julio Cortázar of Argentina is the first example of a hypertext novel

02. As We May Think
Vannevar Bush, 1945
- Organizer of the Manhattan Project and technology visionary. Imagined greater information access, most notably in a "Memex," or personal desk filled with libraries and files of one's life

03. Computing Machinery and Intelligence
Alan Turing, 1950
- Creator of the "Turing Test," which asks the question of whether a computer can trick a person into thinking it's human

04. Men, Machines, and the World About
Norbert Wiener, 1954
- Coined the term "cyber" with "Cybernetics," which studies the "communication and control in the animal and machine." Interested in the social outcomes of being closely associated with new technology

05. Man-Computer Symbiosis
J.C.R. Licklider, 1960
- Head of DARPA (the Defense Advanced Research Projects Agency). Envisioned computer networks and its benefits

06. "Happenings" in the New York Scene
Allan Kaprow, 1963
- Organizer of "Happening" performances which examined the interaction between the audience and performance, and sought to abolish the roles of actor and spectator

07. The Cut-Up Method of Brion Gysin
William S. Burroughs, 1961
- Beat poet and surrealist describes using "cut and paste" (random) editing to invoke subconscious creativity

08. Augmenting Human Intellect: A Conceptual Framework
Douglas Engelbart, 1962
- Inventor of computer interface features (mouse, window, word processor) with the intention of "augmenting the human intellect"

09. Sketchpad: A Man-Machine Graphical Communication System
Ivan E. Sutherland, 1963
- Developer of computer graphics with his Sketchpad system, which allows direct-manipulation for human-computer interaction.

10. The Construction of Change
Roy Ascott, 1964
- Advocate of conneting cybernetics (Wiener) and art, inspiring fields such as digital design/media art.

11. A File Structure for the Complex, the Changing, and the Indeterminate
Theodore H. Nelson, 1965
- Coins the term "hypertext," which he envisions to be complex and reconfigurable structures of information (like a PalmPilot)

12. Six Selections by the Oulipo
Italo Calvino, 1961
- Literary group's sonnet that is written adhering with complex algorithmic techniques, in showing the changing relationship between reader, author, and actual text.

13. The Galaxy Reconfigured & The Medium is the Message
Marshall McLuhan, 1962 and 1964
- Famously remembered for "the medium is the message," meaning the mode of media often overpowers its content. Icon for believing that popular media should be studied, as it has a profound impact on our bodies, abilities, and thought processes.

14. Four Selections by Experiments in Art and Technology
The Pavilion, 1961-72
- Experiments in Art and Technology (E.A.T.) joins art and technology in staging performances (video projection, sonar sounds, installations etc.) in a variety of ways and with collaborators drawn from both artistic and scientific backgrounds.

15. Cybernated Art
Nam June Paik, 1964
- The original video artist who also used performance to help create "always-already history," and reflections on our culture.

16. A Research Center for Augmenting Human Intellect
Douglas Engelbart and William English, 1968
- Demonstration of interactive computing, well received. Helped invent friendly computer tools like the mouse.

17. From Software–Information Technology
Theodore H. Nelson, Architecture Machine Group, and Les Levine, 1970
- Conceptual art+technology exhibition that encouraged public interaction.

18. Constituents of a Theory of the Media
Hans Magnus Enzenberger, 1970
- Believes the media business, or 'consciousness industry' tries to make us accept an unjust society (while making money). To overturn this model we must produce our own, homemade media that shows this bureaucracy and injustice.

19. Requiem for the Media
Jean Baudrillard, 1972
- Response to Enzenberger's essay. Disagrees with the DIY method for media if the medium is unchanged ('transmitter-message-receiver').

20. The Technology and the Society
Raymond Williams, 1972
- Studied 'flow' of material on television and its effects on society, and precisely why we are always framing that question. Technology was created from our societies, and does not simply dictate them.

21. Computer Lib/Dream Machines
Theodor H. Nelson, 1974
- Known as the first book on personal computers, divided into "Computer Lib" side and "Dream Machines." Believed computers should be for personal use, deliberately designed, and be a platform for new media on open publishing networks.

22. Theatre of the Oppressed
Augusto Boal, 1974
- Once jailed in South America, Boal puts on therapeutic interactive performances that overcome the audience/spectator dichotomy.

23. Soft Architecture Machines
Nicholas Negroponte, 1975
- Designed computer software which aided architectural design by managing numeric data spatially with computer graphics and virtual reality to carry out various tasks.

24. From Computer Power and Human Reason: From Judgement to Calculation
Joseph Weizenbaum, 1976
- Invented conversational computer programs, and theorized downsides to new media, especially towards technology that assumed human roles or attributes.

25. Responsive Environments
Myron W. Krueger, 1977
- Known as the father of virtual reality, acknowledged by both the art and scientific worlds. Interested in human-machine interaction, and artificial reality.

26. Personal Dynamic Media
Alan Kay and Adele Goldberg, 1977
- Creators of the Dynabook, precursor to the laptop computer. Envisioned a friendly PC that could be used creatively by everyone, not just professionals.

27. From A Thousand Plateaus
Gilles Deleuze and Felix Guattari, 1980
- Literary machine created "rhizomatic writing" or dualisms such as "if I were using these terms, this is what I would mean."

28. From Mindstorms: Children, Computers, and Powerful Ideas
Seymour Papert, 1980
- Sees the computer as a creative teaching device for children, using Piaget's educational ideals. This philosophy became called "constructionism."

29. "Put-That-There" Voice and Gesture at the Graphics Interface
Richard A. Bolt, 1980
- Developed multimodal interface, which combines speech, sight, and gesture with computer input, advancing computer-individual interaction.

30. Proposal for a Universal Electronic Publishing System and Archive
Theodor H. Nelson, 1981
- Creator of Xanadu archive, connecting documents to one another to create a searchable hierarchy/anarchy of knowledge.

31. Will There be Condominiums in Data Space?
Bill Viola, 1982
- Video artist which challenged notions of the meaning of new media.

32. The Endless Chain
Ben Bagdikian, 1983
- Writes that web culture should foster democratization and diminish hierarchies. However, media companies are slowly turning into a few major conglomerates.

33. Direct Manipulation: A Step Beyond Programming Languages
Ben Shneiderman, 1983
- Writes of a project which aims to eliminate language to convey meaning of objects, and instead uses direct manipulation through a representational interface.

34. Video Games and Computer Holding Power
Sherry Turkle, 1984
- Examined how video games changed people's experiences with the computer, with a focus on the psychological impact.

35. A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century
Donna Haraway, 1985
- Haraway would rather be a cyborg than a goddess, for the dualisms that are demanded of retreating to an ideal of the past, whereas the cyborg "does not look back."

36. The GNU Manifesto
Richard Stallman, 1985
- Hacker at MIT and free-information supporter who shared software which allowed for users to build on and improve the programs.

37. Using Computers: A Direction for Design
Terry Winograd and Fernando Flores, 1986
- Critics of artificial intelligence, since computers cannot detect the subtleties of human interaction. Advocates of "ontological design" which examines human communication, which could influence computer interaction.

38. Two Selections: The Six Elements and the Casual Relations Among Them, and Star Raiders: Dramatic Interaction in a Small World
Brenda Laurel, 1986 and 1991
- Looked at computing with an influence of ancient texts, such a Aristotle's Poetics and implementing drama and theater on the computer through user interaction.

39. Towards a New Classificaition of Tele-Information Services
Jan L. Bordewijk and Ben van Kaam, 1986
- Examines digital communications and the distinction between the computer as another individual or machine.

40. Mythinformation
Langdon Winner, 1986
- Looks at the computer revolution and the possible social effects, whether technology will have an empowering democratizing force or not, depending on the amount of influence computer/technology companies will be given.

41. From Plans and Situated Actions
by Lucy A. Suchman, 1987
- Critic of the way AI was designed. Believed that abstracted manipulations should be replaced with the more human-like situated action. Described the differences between the interaction amongst humans, and humans with machines.

42. Siren Shapes: Exploratory and Constructive Hypertexts
Michael Joyce, 1988
- Looked at the two types of hypertext environments, "exploratory" and "constructive," examining the Web as compared to hypertext predictions like that of Vannevar Bush. An exploratory hypertext is formerly constructive, and is being viewed by someone other than the creator. A constructive hypertext is one that turns exploratory hypertexts into material that can be used within the constructive hypertext they are always creating. (The web today is more exploratory because users are more capable to create).

43. The Work of Culture in the Age of Cybernetic Systems
Bill Nichols, 1988
- Writes that video games move fetishization from the object onto the process, or interactivity. Raises question of stimulation resulting in war efforts, and using video games to carry out these attacks.

44. The Fantasy Beyond Control
Lynn Hershman, 1990
- First interactive video art installation, giving the viewer a remote and TV to watch a woman, Lorna, also watching a television inside of an apartment. The viewer could then click on items inside the apartment that would lead to individual narratives.

45. Cardboard Computers
Pelle Ehn and Morten Kyng, 1991
- Believed that computer tools greatly influenced the way they could be used, and what could be created using them, so their design must be influenced by the computer user and not just the programmer.

46. The Lessons of Lucasfilm's Habitat
Chip Morningstar and F. Randall Farmer, 1991
- Examines the type of interaction that occurs in multiplaying online games. These networks of communication don't necessarily foster the utopian ideals of their design. Instead, the dynamics reveal the importance of economics and game structure.

47. Seeing and Writing
J. David Bolter, 1991
- Examines how the computer influences our thoughts on print and writing, a subject he calls "remeditation."

48. You Say You Want a Revolution? Hypertext and the Laws of Media
Stuart Moulthrop, 1991
- In order to predict the next step in meditated hyperreality, we must analyze the elements of hypertextuality, or the web.

49. The End of Books
Robert Coover, 1992
- Writing on computers results in a higher quality and structureless style of writing, like the hypertext novel.

50. Time Frames
Scott McLoud, 1993
- Through the comic book format, analyzes the structure of the comic book with elements of new media.

51. Surveillance and Capture: Two Models of Privacy
Philip E. Agre, 1994
- Looks at the way our actions on computers would be changed if everything was being monitored or recorded.

52. Nonlinearity and Literary Theory
Espen J. Aarseth, 1994
- Nonlinear texts, or texts that we read on the computer screen, change the way we read. He compares non-linear with linear texts, and their methods of intake.

53. Nomadic Power and Cultural Resistance
Critical Arts Ensemble, 1994
- Rhizome language and nomad, which are ways in which liberated users can discuss new technologies, have become a means of corporate power.

54. The World-Wide Web
Tim Berner-Lee, Robert Cailliau, Ari Luotonen, Henrik Frystyk Nielsen, and Arthur Secret, 1994
- Overview of the web as today's hypertext system that is able to link people like never before.

intro 2

In the second introduction written by Lev Manovich, I was surprised to learn that the United States fell behind other countries in developing new media art during the 1990s. Naturally, because the U.S. was the inventor of the internet and creator of computer networks, I assumed that our new media artistic output would be overflowing. But instead of slowing easing into the technology and being able to create art works that reflect on the true nature of the technology itself, the U.S. rapidly incorporated the internet into our daily lives. As a result, we were blinded by the efficiency of the medium and the art world chose not to fund new projects. I would be curious to see examples of early European interactive installation art, and how it compares to the commercially-driven art path that we took.

Also, I'm still coming to terms with Manovich's definition of new media. An abbreviated meaning is that it's a combination of old and new ways to represent data, the old way being images and text and the new being numerical (computer) data.

internet history doc

The documentary we watched in class on the history of the internet reminded me of how fast technology has advanced in the past twenty years. When the documentary was made, they made it seem like the internet was a full-fledged phenomenon. Perhaps it was, but they were still using dial-up and AOL. Now, the internet can be picked up wirelessly on my laptop, phone, mp3 player, etc. The archaic looking browsers and websites the documentary shows were around less than ten years ago. Growing up in the digital age, I don't remember ever needing the internet before it arrived as I was entering middle school. It has become second nature to check my email and browse for information. It's hard to even fathom how the world operated before the web. With our interconnected lifestyles, the world is shrinking and shifting. In order to participate in this new digital age, you need to adopt the new technology.

ryan

What I liked so much about Ryan was that it incorporated real people, real events, and hand-drawn animation within a CGI landscape. The interwoven quality of the short gave a new angle to the stories and voice-over narration. Instead of being solely digitally recreated, or exclusively film, the digital animation allowed for metaphor, irony, and insight that isn't as easily achieved otherwise. Physically dilapidated characters show the disembodied and haggard look of an ex-drug addict and colorful sprouts burst through foreheads to show their extensions of thought and ideas. I also really enjoyed the beautiful hand-drawn cartoon animation that is CGI's predecessor yet basic foundation.

bingo

Chris Landreth takes the creepy clown character to the next level in his animated 1998 short entitled "Bingo." His concept is based off of an improv group, but when accompanied by the innovative use of CGI he's able to achieve a world that looks and feels like bad dream. The software developments invented while creating "Bingo" helped pioneer the CGI program MAYA. Most notably, the atmospheric elements of smoke and haze were incorporated and are now requisites of any CGI creation that attempts to emulate real life. "Bingo" not only has the look, but the "feel" of reality which really takes it a step further in the evolution of digital animation. The surrealism of the clowns, freaks, and circus tent work in the sense that their theatrical nature lends itself to artistic, digital interpretation while not having to constantly be compared to reality. (For instance, he's not creating a streetscape or using hyper realistic people). The added elements of shadow, light, haze, and smoke in this surrealist landscape help elevate it to the more real and natural, giving it the quality of a vivid nightmare.

web serials

I agree with Virginia Heffernan's assertions that web serials lack the authentic brilliance of viral videos. Because they're manufactured, their content therefore lacks the beautiful honest genius that lies within, for instance, Afro Ninja. Maybe what Heffernan envisions as "another serial - not called a serial, myabe, and certainly not webisodes - will exploit the eccentricity of the virals and manage to make new and serious jokes about truth-illusion-truth illusion of cinema verite..." are similar to the videos of Tina Chen. Tina is a preteen (? hard to say) from the midwest who makes videos from her bedroom proclaiming her love for 'high school musical' and sings backstreet boys songs. Except, she has no idea that she's embarrassing herself. Perez Hilton published her YouTube on his site and as a result of the fame most of her videos are gone (though she has a MySpace now). I think this type of user-generated collections of videos succeed in that they have no specific structure or plot like a webseries. They just happen to be a bunch of ridiculous clips uploaded from some ridiculous person. Someone just needs to pull it off with the intention of parody. A Christopher Guest for the YouTubers.

Here's a Tina classic:

engine room

MTV's 'The Real World' is popular for the crazy drama that results when you combine, say, a hillbilly, a sorority princess, and a gay black thug. I'm not sure how many sparks will be flying when a bunch of computer wizards sit around on their laptops in a Brooklyn loft. How do computer artists make for exciting tv or web tv? I understand that their work will be creative and impressive, and MTV managed to sign on a bunch of guest appearances, but it seems like this competition is only going to be taped in order to show off the Hewlett-Packard gadgets.

new media reader intro

In the introduction, Janet H. Murray brings up several themes that arise from the book's many authors. One recurring theme is the notion that we must try to organize, catalogue, and systematize our ever-complicating lives. Murray addresses the rise and subsequent reliance on computers, which is not fully explored by many of the book's contributors who came earlier. For those who have made theories, she divides between engineers and humanists. "The humanists see the contradictions and limitations of the great systems of thought and it causes them to question the very project of systemized thinking" (4). This issue is especially relevant today, when we have turned on the "super particle collider," which will help reveal how the big bang actually occurred and how the world as we know it began. Does our growing technology and search for answers get the better of us? How does this information actually improve us as individuals? As a society? Should we create this technology just because we have the capacity to?

Later in the introduction, Murray breaks down the four main qualities of the computer as: "procedural, participatory, encyclopedic, and spatial properties" (6). She then goes on to ask the million-dollar question, "If the computer is a universal machine, capable of representing anything, then can it represent all of human knowledge?" I'm not sure if this will ever be possible, but just the online or gaming realms on the computer have created very real feelings. People create "second selves" or online personas, and play games with an energy that may not exist in "reality."

the guild

My inital reactions to the webseries, The Guild, are that the episodes are very impressive both on comedic and creative levels. Each show is nicely shot, edited, and put-together in a very basic, but economical and effective way (though it wouldn't hurt ot re-do the intro). Had I not known they were intended for the internet, it looked as if it could have been a sketch comedy show for tv. The creator and star of the series, Felicia Day, chose the best medium to launch her work and carve out a niche audience. As a gamer herself, she was probably more familiar with the online format and was part of a very large internet community she could relate with and market to. According to the website, The Guild has been the recipient of several webseries awards that I didn't even know existed. I'm glad there has been recognition for these artists, who prove that you don't need money in order to make a successful show. I hope web series continue to gain more attention, and that someday there will be an online outlet or database where these shows can attract more attention, rather than being lost in the YouTube masses.