Database Aesthetics

 
Act III   Post-Internet Art
Project: Praxis Pro­posal
 
AZArt
 
M 01-Dec   Overview: Project 3

  • Discuss/Activity: Pro­posal Exer­cise (ideas), field trends, dis­ci­pli­nary con­ven­tions & innovations

 
 
 
W 03-Dec   Work­shop project devel­op­ment activ­ity — led by Groups 1 & 2

  • Prepa­ra­tion for every­one: items (4 brief notes) listed below

  • For assigned groups: dou­ble par­tic­i­pa­tion credit — post ideas before/after class for project devel­op­ment
    → Coör­di­nate in com­ments below what you will dis­cuss in work­shop (re: objec­tives, gen­er­at­ing ideas, approach, etc.)

 
 
 
» Blog entry: project prospec­tus

    — class­mate com­ment: respond to “treat­ment” (con­cept);
    or, sug­gest design/media ideas, appli­ca­tion, approach (rec­om­mended)

 
 
 
F 05-Dec   Work­shop (Project devel­op­ment) led by Groups 3 & 4

    • Dou­ble par­tic­i­pa­tion credit: post before/after class

    • Addi­tional focus: Mul­ti­modal com­pos­ing + Web design (Wix, Wee­bly, other)
      review & expand design tech­niques & soft­ware from project 1

    • Gen­eral project devel­op­ment notes/suggestions (for Fri-Mon) below — add spe­cific ideas or questions/responses in com­ments

 
 
» Project 3 (Illus­trated Pro­posal) due W 10-Dec
 
 
 

    Poe­me­dia 2.0: Free and open to the pub­lic.
    7–9 p.m. Fri­day & Sat­ur­day, Dec. 5 & 6, ATLAS Black Box

 
 


» Work­shop Groups
    Elena
    John
    Katy
    Matt

    Gavin
    Ian
    Nate

    Amanda
    Kayla
    Leo
    Rick

    David
    Kathryn
    Kendra
    Stefan

 


 

» Wednes­day Preparation

— brief notes posted to your blog or in com­ments below

1. Key term/concept from read­ing(s) in class

2. Exam­ple of con­tem­po­rary art in network-digital media ecol­ogy — from your obser­va­tion, research/classes, cura­tion site

3. Fun­da­men­tal cat­e­gory of your art field/praxis most inter­ested to update (promis­ing, gen­er­a­tive, etc. for innovation?)

    e.g. author/creator, medium, process, audi­ence, delivery/display, mate­r­ial, genre/form, reception/critique (others?)

4. Title of (or term from) recent pub­li­ca­tion (“book”) “about” art in new media ecology

 
optional (at least 1 recommended):

  • Depic­tion of inno­v­a­tive art praxis in pop­u­lar cul­ture (or Web/digital media, game, etc.)
  • Assign­ment from a current/recent course in your major/field
  • Use title/term from #4; search and post 1 image/media result
  • Pick one selec­tion from Rhizome.net Art­base, NetArt­Net, or Hyper­al­ler­gic; title/caption it with a reading/term from our course
    bonus optional light­ning round: how might this look in your major/field/medium in 2015? 2025? (e.g. appear­ing in a text­book, on a Tum­blr, as a class project, a Post-Internet exhibit, a Post-Literacy aka “Elec­tracy” activ­ity? extrapolate)

     


     
     

    Com­pos­ing Activ­ity — Draft­ing/Developing Project (04−07 Dec)
    • Develop & refine/focus your ideas…
    • Start by reflect­ing upon your “first-person” (direct) expe­ri­ence
      of art-making given tech­no­log­i­cal (mediated/networked); con­sider spe­cific roles of artist, audi­ence, critic/scholar, etc. (insti­tu­tions? chang­ing con­di­tions?)
      con­sider how these roles might be presented/simulated in the project… (to illus­trate your pro­posed inno­va­tion praxis)
      focus your the idea as theme/subject to perform/present
      (rather than just to explain, argue, ana­lyze) in mul­ti­ple modes, through assem­blage composition

     
     
    » Start plan­ning, design­ing, drafting…

    • If using Word­Press as plat­form:

      — cre­ate pages (4–6?); plan how to arrange (navigation/organization scheme?)

    • Alter­na­tively test fea­tures of Wix.com (rec­om­mended), Wee­bly, or another website

     

    • Collect/compile & create/edit media (“ready­made” and original/personal source mate­r­ial) to use
      —from any of your “per­sonal data­bases”; plus, media (images, video, audio, GIFs, etc.) you find as well as cre­ate
      — test design/media appli­ca­tions
      → con­sider how to use in mul­ti­ple modes: explain, spec­u­late doc­u­ment, rep­re­sent; illus­trate, demon­strate, sim­u­late; con­vey, evoke, express
      → con­sid­er­ing pur­pose and effects (use tech­niques and logic of aes­thetic forms)
      For instance, as dis­cussed: dis­tinct effects cre­ated by edited phở­tos, videos, GIFs, screen cap­ture images/video, media both per­sonal & found
       
      → Use com­bi­na­tion of text and mul­ti­ple media in var­i­ous ways, apply­ing insights from study (par­tic­i­pa­tory cul­ture & dig­i­tal rhetoric) and exper­i­ment­ing with mul­ti­modal composing

     

     
     
    Assem­blage Com­pos­ing starter tips (from the­ory & objects of study):

      try­ing leav­ing your­self out (in terms of explic­itly explain­ing), in favor of illus­trat­ing & express­ing with “ready­made” details sam­pled from “data­bases”.
      The DJ or Film Direc­tor is respon­si­ble for arrange­ment — sequence; focal­iza­tion & jux­ta­po­si­tion — while remain­ing absent, in terms of “voice” (artic­u­la­tion).
       
      The method (and goal) tries to “weave” an assem­blage of het­ero­ge­neous details, from your Per­sonal Data­bases, in style of “sam­pling” and re-purposing;
      mul­ti­modal com­pos­ing as new form of expres­sion suitable/adequate to objec­tive,
      not to (just) explain/document your ideas, but as well to but to present, per­form, sim­u­late the cre­ative praxis and con­di­tions (net­work media ecol­ogy) within which you are sit­u­ated as first-person artist — con­ven­tions and chang­ing pos­si­bil­i­ties of art field in 21st century.…?

       
       
       

  • 2 thoughts on “Database Aesthetics

    1.  
      » Review of class readings/materials/sites:
       

      PBS Dig­i­tal Stu­dios: “The Art of Data Visu­al­iza­tion” video (2013)

      Droit­cour, “Why I Hate Post-Internet Art” (2014) blog entry

      ^ PBS Dig­i­tal Stu­dios: “The Art of Glitch” video (2012)

      ^ Owens: “Glitch­ing Files for Under­stand­ing” The Sig­nal: Dig­i­tal Preser­va­tion (2012)

      Artist Paper from Women, Art, and Tech­nol­ogy (2003)

      Intro­duc­tion to Media Archae­ol­ogy by Huh­tamo & Parikka (2011)

      Parikka & Hertz, “Archae­olo­gies of Media Art” CTheory.net (2010)

      ^ Parikka, “Cir­cuit Bend­ing Media Archae­ol­ogy into an Art Method” Leonardo (2012)

      ^ Con­nor, “What’s Postin­ter­net Got to do with Net Art?“ (2013) Rhizomes.org

      CFPs (page): “Dig­i­tal Embod­i­ment,” “Visual Art and Mate­ri­al­ity,” “Vir­tual Con­fig­u­ra­tions in Con­tem­po­rary Art and Museums”

      Amerika, “Museum of Glitch Aesthetics”

      ^ Cramer, “Post-Digital Aes­thet­ics” e-permanent

      ^ Garrett-Petts & Nash, “Re-Visioning the Visual: Mak­ing Artis­tic Inquiry Vis­i­ble” Rhi­zomes 18 

      ^ Fibrecul­ture issue 7 (Dis­trib­uted Aesthetics)

      ^ Fibrecul­ture issue 19 (Ubi­Comp)

      Web 2.0 as a new con­text for artis­tic prac­tices”Fibrecul­ture 14 (2009)

      An Exer­cise in Net Art 2.0&Exer­cise in Post­pro­duc­tion Art and The­ory” from remix­the­book

       
      ^ = rec­om­mended for review
       

    2. Before Class: I will be dis­cussing the impact of tech­nol­ogy on the the­ater­go­ing expe­ri­ence. I am inter­ested in how wear­ables can con­tribute to the dis­cus­sion of film in an aca­d­e­mic and non-academic forum.

      i.e.: Smart­watches; a tap on the watch time­stamps the movie you’re cur­rently watch­ing and snap­shots the scene for dis­cus­sion after the movie (it might also post that to your social media). Film­mak­ers could incor­po­rate their own dis­cus­sions and com­men­tary that would be embed­ded in the film, allow­ing you to see their thoughts on the scenes you snapshot.

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