 |
|
|
|
|
 | Three different audiences
|
|
|
|
|
|
| Interactive Media Division
|
|
|
|
|
|
 | "interactivity in the age of electronic media"
|
|
|
|
|
|
| When is the age of electronic media? From the earliest World's Fairs on
|
|
|
|
|
|
| Maybe Social Software is an approach to thinking about applications and experiences
|
|
|
|
|
|
| Never will be a true-false in the class
|
|
|
|
|
|
| Is this social software, or not?
|
|
|
|
|
|
| Is this interactive, or not?
|
|
|
|
|
|
| Learning instead to ask questions to describe characteristics around these attributes
|
|
|
|
|
|
| central question - narrative and interactivity - how can you tell a permeable story?
|
|
|
|
|
|
| what do we think Homer did?
|
|
|
|
|
|
| X-Y graph to classify interactivity
|
|
|
|
|
|
| top = experience (the experience occludes the device)
|
|
|
|
|
|
| bottom = instrumental (the device is central, foregrounded)
|
|
|
|
|
|
| left = semantic (adds the weight of the drama)
|
|
|
|
|
|
| right = symbolic (the wired part of the experience is significant)
|
|
|
|
|
|
| What is interactivity on television?
|
|
|
|
|
|
| integration of other technologies and protocols into the screen
|
|
|
|
|
|
| integration of community functions
|
|
|
|
|
|
| integration of contextual information
|
|
|
|
|
|
| something on the TV prompts you to take an action
|
|
|
|
|
|
| the ability to put yourself into the frame
|
|
|
|
|
|
| an interactive cycle between the people making media and the people consuming it
|
|
|
|
|
|
| selling back authentic culture to teenagers
|
|
|
|
|
|
| what is the program selling?
|
|
|
|
|
|
| what kind of performance of interactivity?
|
|
|
|
|
|
| Next time: Lovejoy's Digital Currents: Art In the Electronic Age - Chapter 5, 6
|
|
|
|
|
|
| book: techniques of the observer
|
|
|
|
|
|
| problematic of the observer
|
|
|
|
|
|
| detachment of the observer leads to a lack of accountability
|
|
|
|
|
|
| learning to play tricks on the eye, an increase in visual relativity
|
|
|
|
|
|
| observer is apart, away from the action
|
|
|
|
|
|
| geometric optics are a cone of rays to a single "divine" point
|
|
|
|
|
|
| over time, a shift occurred from studying how do we know what we see
|
|
|
|
|
|
| shift to - how do we see what we see.
|
|
|
|
|
|
| if reality becomes fungible, then potential exists to create new realities
|
|
|
|
|
|
| vision now indicates an ability to capture data
|
|
|
|
|
|
| photo of an iraqi submitting to an electronic eye
|
|
|
|
|
|
| osama bin laden wears the glasses, looking at American society
|
|
|
|
|
|
| 9 September - Digital Interaction and Art
|
|
|
|
|
|
| Techniques of the Observer
|
|
|
|
|
|
| vision transitions from disembodied (body-less)
|
|
|
|
|
|
| ...to embodied (in the eye, physiological, part of somebody's experience)
|
|
|
|
|
|
| interactions with and upon the physical body make manipulation of the visual experience possible
|
|
|
|
|
|
| visual experience moves from
|
|
|
|
|
|
| objective (disembodied + seeing is believing)
|
|
|
|
|
|
| subjective (embodied + seeing is not believe)
|
|
|
|
|
|
| visual experience is more instrumental today
|
|
|
|
|
|
| Digital Currents: Art in the Electronic Age (Lovejoy)
|
|
|
|
|
|
| is there an aesthetics that couples information and interaction?
|
|
|
|
|
|
| the intent of the author?
|
|
|
|
|
|
| bad digital art - takes Jim Campbell's Formula for Computer Art too literally
|
|
|
|
|
|
| MTAA - Simple Net Art Diagram
|
|
|
|
|
|
| MTAA - Complex Net Art Diagram - linkoln/complex
|
|
|
|
|
|
| demonstrating the range of emotional experiences and memories that accompany digital art
|
|
|
|
|
|
| the aesthetics is the experience, the interaction
|
|
|
|
|
|
| the aesthetics is not isolated'
|
|
|
|
|
|
| meaning is created out of interaction between people rather than being 'something' that is sent from one to another.
|
|
|
|
|
|
| "shifting the role of the artist to that of one who creates the framework and tools for interactive dialogue"
|
|
|
|
|
|
| Does an interactive work exist without users?
|
|
|
|
|
|
| D. Jean Hester // Media Artist
|
|
|
|
|
|
| frustration with "eyes forward cinema"
|
|
|
|
|
|
| learning to program - wanting to interact with users, design user interaction
|
|
|
|
|
|
| She went to USC, studied writing for cinema
|
|
|
|
|
|
| where's your protagonist Jean?
|
|
|
|
|
|
| I'm for an art whose users do something other than sit on their ass, or click at a mouse
|
|
|
|
|
|
| active participant collaborators in the creation of art
|
|
|
|
|
|
| does online make something interactive?
|
|
|
|
|
|
| is accessibility interactivity?
|
|
|
|
|
|
| leaving traces is important
|
|
|
|
|
|
| affecting the piece such that the next visitor can see it?
|
|
|
|
|
|
| if I want you to have an experience, to be turned on, I want you to have the exposure to people who have had that experience before/alongside you
|
|
|
|
|
|
| putting up open question sheets in New York City
|
|
|
|
|
|
| contributory participation
|
|
|
|
|
|
| exploration of voyeurism and exhibitionism
|
|
|
|
|
|
| "sexualization" versus "fetishization"
|
|
|
|
|
|
| people do tend to participate
|
|
|
|
|
|
| next project: "Ask Me Anything"
|
|
|
|
|
|
| Julian bought a new GPS unit that has built-in GPS games, like Snake in an open field, running from the snake tail
|
|
|
|
|
|
| Programming plus procedure
|
|
|
|
|
|
| Watching Machinima from in-game
|
|
|
|
|
|
| "please don't snipe the actors"
|
|
|
|
|
|
| Architecture as a form of new media - Frank Gehry
|
|
|
|
|
|
| Creating something that counts as new
|
|
|
|
|
|
| is new media data visualization and rendering?
|
|
|
|
|
|
| narrative/visual story using video game footage
|
|
|
|
|
|
| Database narrative using found information artifacts
|
|
|
|
|
|
| cut My Three Sons into Double Indemnity
|
|
|
|
|
|
| media/lit review of the "adoption" of films to video games
|
|
|
|
|
|
| critique and analysis of a net.art project, video game, traditional film in the context of class insights and theoretical frameworks
|
|
|
|
|
|
| analytic essay on the cyborg critters in national geographic's critter cam project
|
|
|
|
|
|
| Games as a context can normalize
|
|
|
|
|
|
| Cockfight game allowed gambling
|
|
|
|
|
|
| david koresh game: players become sculpture
|
|
|
|
|
|
| cultivating relationships with people who know more than you in a way that's not annoying
|
|
|
|
|
|
| both to people and to user groups
|
|
|
|
 |
 |
|
;){kind=small}
;){kind=small}
;){kind=small}
;){kind=small}
;){kind=small}
;){kind=small}
;){kind=small}
;){kind=small}
;){kind=small}
;){kind=small}
;){kind=small}
;){kind=small}
;){kind=small}
;){kind=small}
;){kind=small}
;){kind=small}
;){kind=small}
;){kind=small}
;){kind=small}
;){kind=small}
;){kind=small}
;){kind=small}
;){kind=small}
;){kind=small}
;){kind=small}
;){kind=small}
;){kind=small}
;){kind=small}
;){kind=small}
;){kind=small}
;){kind=small}
;){kind=small}
;){kind=small}
;){kind=small}
;){kind=small}
;){kind=small}
;){kind=small}
;){kind=small}
;){kind=small}
;){kind=small}
;){kind=small}
;){kind=small}
;){kind=small}
;){kind=small}
;){kind=small}
;){kind=small}
;){kind=small}
;){kind=small}
