Tag Archives: media art
Rogers, K. (2007). LA Freewaves’ _Too Much Freedom?_ Alternative Video and Internet Distribution. _Spectator_, 27(1):56-68.
Ken Rogers is Assistant Professor, Media and Cultural Studies at UC Riverside. He is Board President of the prominent Los Angeles-based media arts organization Freewaves, and he is an editorial board members of Resilience: A Journal of Sustainable Critique. His interdisciplinary research and publication concerns the intersection of labor, attention, political economy, art practice, and digital media.
Since 1989, LA Freewaves has produced the largest theatrical exhibitions of avant-garde video. But for 2006’s Too Much Freedom?, Freewaves scaled back its theatrical output to just four venues, using the Internet for the festival’s remaining programs. Freewaves has always articulated relationships and partnerships for distribution and promotion, such as KCET, cable access channels, museums and galleries, private collections, distribution houses, university systems. The paradox here is that this distribution model puts the alternative mode in the same category as studio arts. So the Internet turn of Too Much Freedom meant to move away from this condition of tricky obtainability.
However, Rogers argues, Freewaves may have in fact sacrificed the opportunities for community building with the intentionally democratic move. The exhibition opening event (two nights at the Hammer), like the website was intentionally directionally ambiguous, underscoring Freewaves dedication to the alternative distribution model. However, the site was still unidirectional (i.e. there was no comment field implicitly privileging the cultural producer over the viewer. Freewaves’ apparent democratic impetus, stymied, offering questions about how we can improve interactive opportunities online.
Malcolm McCullough, M.Arch from UCLA, is Associate Professor, Taubman College of Architecture and Urban Planning from the University of Michigan. He researches digital media for the built environment. His best-known book is Abstracting Craft (1996), a philosophical inquiry into work practices.
In this article, McCullough praises locative media: “Would be flâneurs are now streaming their dérives. The urban media experience is now interactive; comprising not just the broadcast push but walker’s own messages, maps, tags. Locative media is “the newer paradigm of ubiquitous computing [that] brings thing back to the messy multiplicity of street level” (26).
Kabisch, E. (2010). Mobile after-media: Trajectories and points of departure. _Digital Creativity_, 21(1):46-54.
Eric Kabisch, PhD, Information and Computer Science from UC Irvine, is an artist, interaction designer, and researcher. For his latest project, he built and evaluated a geospatial gaming and visualization platform that allowed people to construct interactive virtual environments on the top of physical space. He has an MFA in Arts Computation Engineering, also from UCI.
Following Certeau (1984), Kabisch upholds walking through a city to know and create it. This existential interaction with the city transforms one from consumer to producer. Digital technologies, specifically locative media, offer ways to integrate physical mobility into art practice, “a welcome shift of discourse from virtuality to hybridity” (52).
Kabisch, likewise, upholds interactive art for its capacity to “engage users on an even deeper level” (53) than non-interactive. Per Tuters and Varnelis (2006), locative media liberated artists from their stationary machines and net art, adding physical mobility and comprising “a welcome shift of discourse from virtuality to hybridity” (52).
However, Kabisch admits frustrations. Given that locative media technologies are related to GIS platforms, the artist is stuck with the traditional representative symbols. This has visual and cultural implications. First, human complexity is reduced to a marker on a screen. Second, these are commercial sector technologies, often associated with surveillance and hegemony.
“A place–in all its richness–becomes a static marker on a map, a journey becomes a line, and a community becomes a polygon outline…. We must move from modes of engagement that focus on representation and move to those which engage the interaction and performance of the user and the environment” (50).
Lovejoy, M., Paul, C., & Vesna, V., eds. (2011). Introduction. In _Context Providers: Conditions of Meaning in Media Arts_, M. Lovejoy, C. Paul, and V. Vesna, eds. Bristol and Chicago: intellect.
“Context Providers explores the ways in which media art and culture — specifically digital and art/science collaborations–are challenging and changing the creative process and our ways of constructing meaning” (7).
Margot Lovejoy is Professor Emerita of Visual Arts at the State University of New York, Purchase, and author of Digital Currents: Art in the Electronic Age (2004). She’s received a Guggenheim Fellowship, an Arts International Grant in India, multiple NYSCA grants, NYFA’s Gregory Millard Fellowship, and the 2007 CAA Award for Distinguished Teaching of Art.
Christiane Paul is the Director of Media Studies Graduate Programs and Associate Professor of Media Studies at The New School, NY, and Adjunct Curator of New Media Arts at the Whitney Museum of American Art. She writes widely on new media arts and lectures internationally on art and technology.
Victoria Vesna is a media artist and Professor at the UCLA Department of Design | Media Arts and Director of the Art|Sci center at the School of the Arts and California Nanosystems Institute (CNSI). As of 2011, she was Visiting Professor and Director of Research at Parsons, Media + Technology, the New School for Design in New York, and a senior researcher at IMéRA – Institut Méditerranéen de Recherches Avancées in Marseille and Artist in Residence at the Insitute of Advanced Studies, University of Bristol.
Michael Rush, PhD in Theology and Psychology from Harvard University, is the founding director of the Eli and Edythe Broad Art Museum at Michigan State University. Most recently he was director of the Rose Art Museum at Brandeis University. He contributes regularly art world publications and scholarship. His books include Video Art, New Media in Art, New Media in Late 20th-Century Art, Marjetica Potrc: Urgent Architecture, and he’s written monographs on Gunther Brus, Steve Miller, and Alexis Rockman.
This book is a well-organized, beautifully illustrated (124 of 267 illustrations are in full color) and straightforward history of new media in art. Rush organizes the text quasi-chronologically, but emphasizes modes of practice, with chapters entitled, “Media and Performance,” “Video Art,” “Video Installation Art,” and The Digital in Art.” Suffice it to say, Muybridge and Marey, and Duchamp are the technological and conceptual benefactors, respectively, whose ideas are experimented with and added to over the next century, first by artists migrating from other disciplines and eventually by first-generation artists.
American artist and Rhizome founder, Mark Tribe is Assistant Professor of Modern Culture and Media Studies at Brown University. He’s authored The Port Huron Project: Reenactments of Historic Protest Speeches (2010), as well as co-authored this book. He received his MFA in Visual Art from UC, San Diego. His interest in new media art is not so much the technologies but the way these technologies can engage cultural engagement, aesthetic awareness, and political engagement.
Reena Jana is a New York-based writer, editor, and consultant whose work focuses on culture, innovation, and business. She’s now a contributing editor and blogger at SmartPlanet, and has written for the New York Times, Wired, Fast Company, to name a very few. She attended Columbia University’s Graduate School of Arts and Sciences where she was a National Arts Journalism Program Fellow at Columbia Journalism School.
Uta Grosenick is a Cologne-based freelance author and editor. Her work for TASCHEN includes several books from the Basic Genre Series, Women Artists (2001), ART NOW (2002), Büttner (2003), and ART NOW II (2005).