A Brief History of New Media Art

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Slides from my Midwest UX 2012 presentation on new media art.

These aren't very useful without the talk - it's mostly pictures from the artists' websites. However, if you see the presentation in person some day this will be a good reference for remembering names and pieces.

There are a couple blank slides that are videos in the actual presentation.

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A Brief History of New Media Art

  1. A Brief Historyof New Media ArtMidwest UXJune 1, 2012Matt Nish-Lapidus, Design Director@emenel
  2. Three Themes
  3. Impact of technology onculture and behavior
  4. Post / Trans-humanism
  5. Interaction http://www.flickr.com/photos/mesq/413104380/
  6. What is New Media?
  7. Old Media http://www.thinkkc.com/mediacenter/photolibrary/lib_arts.php
  8. “All new media objects, whether created fromscratch on computers or converted fromanalog media sources, are composed of digitalcode...”Lev Manovich, The Language of New Media (2001) http://solidwork.tistory.com/entry/Rosso-Restaurant-SO-Architecture-%EB%86%8D%EC%8B%AC-%EC%8C%80%EB%AC%B8%ED%99%94%EA%B4%80-%EC%B0%B8%EC%A1%B0
  9. “... media becomes programmable.”Lev Manovich, The Language of New Media (2001) http://bobbyrice.blogspot.ca/2009/11/in-game-scene-art-lotr-silent-hill-5.html
  10. Five Principles:1. Numerical Representation2. Modularity3. Automation4. Variability5. Cultural TranscodingLev Manovich, The Language of New Media (2001)
  11. Five Principles:1. Numerical Representation2. Modularity3. Automation4. Variability5. Cultural TranscodingLev Manovich, The Language of New Media (2001)
  12. Five Principles:1. Numerical Representation2. Modularity3. Automation4. Variability5. Cultural TranscodingLev Manovich, The Language of New Media (2001)
  13. Five Principles:1. Numerical Representation2. Modularity3. Automation4. Variability5. Cultural TranscodingLev Manovich, The Language of New Media (2001)
  14. Five Principles:1. Numerical Representation2. Modularity3. Automation4. Variability5. Cultural TranscodingLev Manovich, The Language of New Media (2001)
  15. Five Principles:1. Numerical Representation2. Modularity3. Automation4. Variability5. Cultural TranscodingLev Manovich, The Language of New Media (2001)
  16. Spimes? http://www.dietsinreview.com
  17. Everything is programmablehttp://www.moma.org/interactives/exhibitions/2011/talktome/objects/146358/
  18. Everything is New Media http://www.flickr.com/photos/stuckincustoms/2786154526/
  19. http://stuyspectator.com/2011/09/29/beauty-of-the-gadgets/moma-talk-to-me-by-dennis-rim/
  20. http://www.flickr.com/photos/87106931@N00/1432715400/
  21. László Moholy-Nagy, Composition A.XX (1924)
  22. Max Bill, Junghans Clocks (1924) http://www.flickr.com/photos/renespitz/4391184667/
  23. Technology & Culture
  24. “the work of art is often identified with thebuilding, book, painting, or statue in itsexistence apart from human experience. ...the actual work of art is what the productdoes with and in experience”John Dewey - Art as Experience, 1934 http://www.flickr.com/photos/was_guckst_du/5956728259/
  25. “Even the most perfect reproduction of a workof art is lacking in one element: its presence intime and space, its unique existence at theplace where it happens to be.”Walter Benjamin - The Work of Art in the Age of Mechanical Reproduction, 1936
  26. DadaMarcel Duchamp, Bicycle Wheel (1913, 1951) and Fountain (1917)
  27. FluxusCage vs. Duchamp: Toronto Musical Chess Match (1968)
  28. Nam Jun Paik, TV Buddha (1974)
  29. http://see-this-sound.at/files/499/original/original.jpg
  30. Nam Jun Paik, Exposition of Music-Electronic Television (1963)
  31. Nam Jun Paik, Exposition of Music-Electronic Television (1963)
  32. Steve Mann, SeatSale: License to Sit (2001)
  33. Steve Mann, SeatSale: License to Sit (2001)
  34. Steve Mann, SeatSale: License to Sit (2001)
  35. Steve Mann, SightLicense: License to Look (1998)
  36. Eduardo Kac, GFP Bunny/Alba (2000)
  37. Eduardo Kac, GFP Bunny/Alba (2000)
  38. Post / Trans-humanism
  39. “Your mind is downloaded out of your headand somehow spread across a millionfoglets. I get that. What I dont get is why. Ifyoure bored of your body, you could buy anew one, or temp, or even go transient.Why become dust?”Warren Ellis, Transmetropolitan Issue #7 (1997)
  40. Eduardo Kac, Time Capsule (1997)
  41. Eduardo Kac, Natural History of the Enigma (2003 - 2009)
  42. Eduardo Kac, Natural History of the Enigma (2003 - 2009)
  43. Stelarc, Third Hand (1980)
  44. Stelarc, Third Hand (1980)
  45. Stelarc, Third Ear (2007)
  46. Rafael Lozano-Hemmer, Body Movies (2001)
  47. Rafael Lozano-Hemmer, Body Movies (2001)
  48. Rafael Lozano-Hemmer, Body Movies (2001)
  49. Interaction andComputer Vision
  50. “If culture, in the context of interactive media,becomes something we ‘do,’ it’s the interfacethat defines how we do it and how the ‘doing’feels.”David Rokeby, The Construction of Experience: Interface as Content (1998)
  51. “Today digital art, —actually all art—, hasawareness. … Pieces listen to us, they see us,they sense our presence and wait for us toinspire them, and not the other way around.”Rafael Lozano-Hemmer, A conversation betweenJosè Luis Barrios and Rafael Lozano-Hemmer (2005) http://www.visitpreston.com
  52. “It is the vision of a computer, a cyborg, anautomatic missile. ... It is the vision of a digitalgrid. Synthetic computer-generated imagery isnot an inferior representation of our reality, buta realistic representation of a different reality.”Lev Manovich, The Language of New Media (2001)
  53. David Rokeby, Body Language (1984 - 1986)
  54. David Rokeby, Reflexions (1983)
  55. David Rokeby, Reflexions (1983)
  56. David Rokeby, Very Nervous System (1986 - 1990)
  57. David Rokeby, Very Nervous System (1986 - 1990)
  58. “The active ingredient of the work is itsinterface. The interface is unusual because it isinvisible and very diffuse, occupying a largevolume of space, whereas most interfaces arefocussed and definite. Though diffuse, theinterface is vital and strongly textured throughtime and space. The interface becomes a zoneof experience, of multi-dimensional encounter.The language of encounter is initially unclear, butevolves as one explores and experiences.”David Rokeby on Very Nervous System
  59. David Rokeby, Very Nervous System (1986 - 1990)
  60. David Rokeby, Very Nervous System (1986 - 1990)
  61. David Rokeby, International Language (2011)
  62. Norman White, The Helpless Robot (1987 - 1996)
  63. Norman White, Telephonic Arm Wrestling (1986)
  64. Steve Mann, Wearable Computers (1980’s - 1990’s)
  65. Steve Mann, EyeTap (1980’s - Present)
  66. David Rokeby, The Giver of Names (1990 - Present)
  67. David Rokeby, The Giver of Names (1990 - Present)
  68. David Rokeby, The Giver of Names (1990 - Present)
  69. David Rokeby, The Giver of Names (1990 - Present)
  70. Design
  71. BERG, Here and There (2009)
  72. Acrossair, Nearest Tube (2009)
  73. Microsoft Kinect http://www.gamingupdate.com/news/kinect
  74. Path http://www.wired.com/gadgetlab/2011/11/path-version-2-smart-journal/
  75. Q&AThanks! Further Resourcesmattnl@normative.com The Language of New Media (Lev Manovich)@emenel New Media in Art (Michael Rush) InterAccess ThingTank MIT Media Lab

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