Below is the link to Project 2: Rough Draft.
Thursday, February 21, 2019
Wednesday, February 20, 2019
Saturday, February 16, 2019
Most individuals may not know the difference between net.art and artworks on the web when such difference is as important as knowing one’s A, B, Cs. First, artworks on the web are literally what the description states; they are scanned, photographed, documented information of artworks that are housed on the web. Simply, one can say that artworks on the web are like artworks on a digital museum known as the web. On the other hand, net.art are not artworks on the web; of course net.art can be presented through the web, but the key difference are their medium of artwork. Net.art is a specific genre of Net Media Art where the medium used to create the presented artwork is the internet. Net.art utilizes the internet and its codes to the best of its abilities to present an idea into a visual form. Another way to visualize what net.art is, the internet for net.art is like the paint used for a painting. Net.art are not artworks documented on the web (artworks on the web), but are artworks created from the internet.
With net.art, the codes used can be with .htm and .html with css. By using specific names (such as style, fonts, colors, etc), artists can begin creating the visuals of their idea in the form of typography, shapes, colors, movements, sounds, and other factors of design. Examples of net.art are from our previous reading with Rhizome’s Net Art Anthology include Automatic Rain by JODI and Female Extension by Cornelia Sollfrank. With JODI’s Automatic Rain, found images from the web along with the aesthetics and functions of the 90’s web creates three web pages that make a statement on the clash of perfection and imperfection in the world; JODI particularly focused on the sprinkler systems used in the Silicon Valley through symbolism and images that relate to the location. To further emphasize the precision and timed feature of the sprinkler system, JODI incorporates codes that allows one of her three webpages (page with a list of blue links) to refresh itself; this one and off features allows the linked numbers to appear like jets of water shooting out to water Silicon Valley at a synchronised, precise time. Female Extension by Cornelia Sollfrank utilizes net.art, each only a maximum of 5 megabytes of data, submitted by multiple artists online for a competition named Extension. With the submissions, Sollfrank pushes the boundaries of presentation by remixing the submissions and applies them to three hundred fake artists to then be judged and awarded at a press conference. This decision Cornelia Sollfrank takes to remix net.art websites allows her project to become net.art rather than a contest that houses artworks online as artworks on the web.
Sunday, February 10, 2019
The Rhizome Net Anthology presents visitors with a collection of Net Art projects by various artists throughout history. For this discussion, Mouchette, LOVE, Form Art, and A Cyberfeminist Manifesto for the 21st Century are the projects in focus. As a popular theme among Net Art, two of the four projects selected focuses on sexuality, innocence, and personalities; none of the projects focusing on such themes censors any of their materials and are fairly explicit to bring out a sense of rawness for visitors to personally connect with. The artworks that hold a close, personal connection with their artists and their audience members are Mouchette and LOVE while A Cyberfeminist Manifesto for the 21st Century and Form Art are on the exploration of Net Art media/distribution.
With Mouchette, audience members will navigate a blog-like website of a young girl named Mouchette; Mouchette is not a real girl, but is an online character made by Martin Neddam for herself and the public to become. Along with sexuality and innocence, Mouchette.org also heavily discusses death and suicide; on many occasions, Mouchette questions about suicide as if she were a fanatic and invites visitors to actively participate in her exploration of such topic. Apart from the themes Mouchette is interested in, the website’s design and function is highly thought out and relies on poetry, gifs, and images; all images have filters on to allow them to appear slightly pixelated in a similar fashion as classic early gif styles. Text used on the website do not have use a strict set of colors; instead they use colors that aesthetically match well with their webpages’ designs. When colors that are not aesthetically pleasing are found on a webpage, visitors can easily understand that the word/sentence selected is important and to be under focus for discussion. Unlike the four projects in focus for this discussion, Mouchette is the only project that utilizes motion in its texts (such as having sentences run across a page or paragraphs moving from bottom to top) and audio (such as sounds of moans, men speaking in foreign languages, and giggling voices of a girl/Mouchette.)
Following Mouchette is LOVE by Michaël Samyn. LOVE is a project made of seven different parts that each focus on different aspects of love from the view of Group Z, Belgium (a group made of nine “artistic alter egos” of Michaël Samyn.) According to Michaël Samyn, the seven parts of love the project presents are various forms of love, from innocent to explicit, that audience members can journey through. While the loves in focus are divided into parts, it is safe to say that the love present is mainly from Michaël Samyn’s lovelife and the emotions he felt when splitting from his past partners. Unlike Mouchette, LOVE utilizes simple pictures with filters with little to no gifs on its web pages; this decision to use such simple images and layouts sets the tone and aesthetic of the project.
A Cyberfeminists Manifesto for the 21st Century is a project from 1991 to 1997 that, unlike other projects in focus, directly interacts with audience members by presenting itself through “fax, snail-mail, paste-up poster, billboard, and online posts” (Rhizome, 2019). As one of the many projects that sparks Cyberfeminisim, the project main focus is on feminism while exploring the use of propaganda as an art form. The decision for VNS Matrix to use such forms of distribution paves the way for Net Artists to depart from traditional methods and experiment new ways of communication through ways never thought to be relatable to art.
Form Art by Alexei Shuglin is another project that explores distribution of art through experimental methods. Rather than presenting its work visually through images, Form Art is a projects that works mainly with HTML and its bare elements. Eventually, Form Art departs from only working with HTML and begins to explore innovative methods of distributing art that engages with its audience members. Examples of such methods include live outdoor performances and contests.
While all of the projects discussed above have designs that appear scattered, all designs present are actually following models that their making a comment on. With Mouchette, the layout is similar to a blog post in the 90s where many introduce visitors to its page with a short, bulleted bio; visuals relate highly to the dark, edgy humor seen in many of the online teen blogs during the time. LOVE also follows a similar take on layout as Mouchette by allowing each of its page appear like a blog entry by one of the nine personalities of Michaël Samyn. As mentioned before, A Cyberfeminists Menifesto for the 21st Century presents itself with methods used in propaganda to make a statement on future feminism; much of the visuals for the project use simple designs with layers of images and texts to have the iconic style of early Net Art but with a different distribution method. Form Art embraces the core of Net Art with html while also expanding mediums of Net Art to become more interactive with audience members (thus following it's name of Form Art.)
Saturday, February 2, 2019
From many of this week’s articles on GIFs, it is easy to see and understand that GIFs are highly open and available in ways unlike traditional forms of art; rather, it can be one of the most open form of art with its file available for anyone to use for free. According to SHA from the Digital Materiality of GIFs, GIF is a visual language that is open for anyone to interpret and use freely; GIF is not owned by anyone and is a file format for people to constantly create new visuals and reinterpret such visuals in an infinite number of ways. GIF is a universal visual language where context is not necessary to understand what is present on screen; this lack of context needed is what brings in a democratic nature to GIFs because it allows viewers to see and do what they wish with the format through their own decisions. An example that visually shows this definition of GIF art is with the MTAA’s release of Simple Net Art Diagram in 1997. By placing a flashing red thunderbolt/connection symbol at the center of cord that connects a computer on the left to a computer on the right, MTAA pushes viewers and artists to begin thinking about active communication and how Net Art truly occurs when artists influence artworks through reinterpretation.
With the democratic nature of GIF formats, we can understand that GIFs are highly shaped by society and their culture. Again, GIFs can be reinterpreted and edited countless times since it is a free, universal visual language; this means that GIFs can easily be a group or club project with multiple artists adding their interpretations before presenting itself to the public. From “A Brief History of Animated GIF Art, Part Two,” readers understand that many artists began to release GIF art to the public through “collaborative blog platforms” from 2006 to 2010. On these collaborative blog platforms, artists will post their own GIF art online while sharing artworks of other fellow GIF artists as well as editing some as reinterpretations. Examples of such forums include the Computers Club Drawing Society and Tumblr.
As a young graphic design student in 2018, these simple low tech method of GIFs represents a visual and active understanding of how Net Art and the internet works. As an open place for people throughout the world to come together and communicate, the internet is not a place for people to go solo; this idea is applied to Net Art. Artworks, once published online, may no longer be works to be kept to oneself but are now a form of visual language for artists and the public to use to communicate; this is especially the case with open formats such as GIF. Net Art truly becomes Net Art when collaboration and manipulation occurs to present artworks as visual words for communication.
With many artists continuing to rely more and more on the internet and social media to gain farther reach, this idea of Net Art can also be where issues emerge. If artists donot clearly state their set of guidlines for the public to respect or have a mutual understanding of their artwork's position, then there can easily be misunderstanfings in communication where another artist may appropriate or reinterpret another artwork when such artwork was not open to such art methods.
Friday, January 25, 2019
Overall, the three collages revolve around the idea of views; views can be from gazes by passing people on the street to views on the internet through digital devices. With the human collage, the type of view in focus are physical views; this can be physical gazes and attention gained without the help of technology. The central figure of the human collage is of a woman to bring attention to unwanted stares and gazes many women may receive in the public. Some gazes feel stronger and more intense than others while many come from places the figure does not know.
The figure under watch is a woman built from one of the ladies from the Marble Statue Group of the Three Graces and a portrait of Lee Miller by Man Ray; the choice of placing the two artworks together is to present the figure as beautiful and perfect. To emphasize the age old practice of people watching and to also emphasize the setting of the collage, the majority of the human collage is void of color (or mainly grayscale). Within the grayscale piece, there are small cut outs that are a bit more colored to help them stand out from the rest; this is scene with the eyeballs and eyes scattered throughout the collage to bring out the inescapable atmosphere os gazes and stares from the figure's surroundings.
In the center of the triptych is the machine collage. Rather than representing the idea of views, the machine collage focuses on the introduction of technology (or the machine) to humans; a force that will influence the future and the way people watch others. The central figure of the machine collage is not of a woman, but is the military airplane dropping revolutionary communicating devices to the world. Unlike the human and hybrid, the machine is a piece that represents transition and is the connecting piece of the whole triptych.
To show a transition from traditional to digital, the machine collage is half grayscale and half highly pigmented with bright, neon-like colors. As mentioned before, the choice to use grayscale is to represent the past; the past before the introduction of technology. The highly pigmented bottom portion of the canvas represents the future where everything in the world become digital. There is a gradient filter from the bottom to the top of the canvas to further emphasize the transition of past to future. The placement and drop of important subjects in the machine collage is influenced by many of the photomontage techiniques used by Aleksandr Rodchenko.
The hybrid, unlike the human and the machinem is completely in color and has little grayscale images. Many of the colors in the hybrid are highly saturated (some close to neon colors) to emphasize the idea that viewers are no longer looking at the past but are now looking at the digital future. There are no longer physical eyes staring at the central figure. Instead, the subject is now under constant stares from having to be in a digital world where privacy no longer exists. Patches of glitches found throughout the collage is what can remind viewers that the collage is a mix of both human and machine; the merge of the two is not necessarily perfect/ideal and is one that can glitch up at times.
When it comes to technique, the composition of the hybrid is almost a reflection of the human collage; the saturated female marble statue is placed on the left side of the canvas with flipped buildings from the background of the human collage. Along with high color saturation, the background is distorted to appear wavy, unreal, and digital to further bring out the hybrid's setting in the digital world. The addition of distortion and raised color saturation to buildings resembling ones found in the human collage is what presents the merge of human and machine. To further emphasize the mix of human and machine, there are patches of glitches found throughout the hybrid piece.