The beauty of an undefinable “New Media”

December 14, 2013 by

This post is a kind of reflection, it goes back to the first question we asked in class: What is New Media?

We found it impossible to define. We came up with many common traits, a kind of tag cloud(which may be the best way to define New Media—for now).

I struggled with this unclear definition. I even remember it coming up in a bar-discussion.

I choose, instead, to embrace undefinable, multiplicity, superimposition.

To define is to specialize, to limit, to package, to own, to commodify, to admit to creating in a forum being judged based on traditions I had no part in choosing.

The term “New Media” is being defined, limited, owned, packaged, and commodified(the nature of new words within capitalism) but there will always emerge a new new-media, a new artistic-frontier(the nature of artists within society).

The spirit(meaning) of new media lives beyond the appropriateness of the words “new media”.

What is the spirit of new media artist?

Buckminster Fuller


The Art of Augmenting Reality

December 5, 2013 by

Tafterjournal, N. 66 – December 2013

Arthur Clay and Monika Rut

Orators, Rostrums, and Propaganda Stands, by John Craig Freeman, augmented reality public art, Hong Kong, 2013.

Orators, Rostrums, and Propaganda Stands, by John Craig Freeman, augmented reality public art, Hong Kong, 2013.

Over the last few years, we have been witness to the emergence of the use of the virtual in public space. The manifestation of the virtual and the interplay of it with the real are changing the concept of public space and the perception of art that is now being presented in it. The integration process of the virtual into the real is also clearly affecting the way in which cultural institutions are now presenting and meditating art, as well as how this process is bringing the demand for new and innovate ways to link the virtual to the real.

Read more.

Place-based Somatic Augmented Reality as Critical Practice, AR[t] Magazine

December 5, 2013 by

By Meredith Drum Issue 4, November 2013

AR[t] Magazine is an initiative of AR Lab, Royal Academy of Art, The Hague


As new augmented reality software has made production more accessible, there has been a surge of mobile AR projects produced by artists interested in place and situation. A notable subset use the virtual to make critical statements about social, cultural and political phenomena tied to, or associated with, a physical location. As new forms of public art, the works engage aspects of a participant’s experience of place generally negated by mobile devices. Exploring the physical setting, the built and natural environment, as well as the events and functions centered there, is often a main goal. The virtual forms point back to the material. Participants are not only asked to actively attend to the spatial and the corporal, they are also invited to consider and enter critical discourse on the history and future of unique spaces — how they are used and might be used.

Read more.

Wade’s Basement Media Film Festival Entry

December 2, 2013 by

This experimental music video was part of my creative portfolio for applying to graduate school.  Besides admissions, I have never shown it to anyone except my co-creator Sean. I would appreciate it if you could look through my video description and let me know of any edits that you think I should make. I’m not going to change the video at all at this point but feel free to critique it.  I may come back to it someday.


How you feel is a music video that takes a cliché Rock heroin overdose and remixes it with Dante’s Purgatory to create a new enlightened perspective.


Inspired by and timed to the music of Sean Morceau, How You Feel is a homage to Dante’s Purgatory.  This homage is seen in both the content and the making of How You Feel. In terms of content, the cliché Rock heroin overdose is remixed with the journey through Purgatory. In terms of the making, the process was akin to how Dante wrote the Divine Comedy in Italian and not Latin. At the time of publication, Italian was seen as a “vulgar” language of the masses- it was consumer grade.  How You Feel was made with cheap consumer grade cameras. Including one that was built out of a scanner bought from a thrift store.

Chris’ Presentation – Sonic Cartography

November 25, 2013 by

Acoustic Archives

For my second presentation, we can look more at defining and understanding a space through its sonic qualities…

Acoustic Archives
This group has given themselves the task of “archiving” historic buildings and then releasing their findings for free and public use (check out the video on the homepage):
Through this method, you could place any recorded audio in one of their archived spaces and it will take on the sonic characteristics of that space. This is an interesting venture, especially because sound is so transient by nature. Most spaces created or inhabited in the developed world since the 20th century have been documented visually (i.e. the photograph). Even before that there were drawings and paintings. Relatively few places have been documented in an auditory fashion.

The Aporee website created a platform for users around the world to record their surrounding environments, which are placed geospatially. To some, the sounds may seem mundane, but again we see the idea of sound as a cultural artifact.

Here is some scholarly information regarding sonic cartography:
Cartographic Representation of the Sonic Environment
The piece is rather long, so perhaps just skipping through the Introduction (about 2 1/4 pages) will give you an idea about this field of study.

Keeping New Media New: Conserving High-Tech Art

November 24, 2013 by

Rachel Wolff, Art News.

Conservators are rushing to keep pace with technology as they find ways to extend the working lives of art made with code, VHS tapes, and other rapidly changing platforms.


Read more.

Wade’s Presentation

November 19, 2013 by

Here is the reading for tomorrow:

The People of the Great River

This is the story of the River Tonga People. In 1955 they were removed from their land. They had lived for many generations by the river Zambesi, on both sides of the river. When the Kariba Dam was built, their river became a lake. They were resettled on Inferior land away from the river. No one asked their permission to flood their land and create an artificial lake. Uprooted from their land, they have left behind a way of life and a culture that was built around their closeness to the river. Their story is one of many.


The Virtuale Exhibition, Digital Art Weeks @ SIGGRAPH Asia 2013

November 19, 2013 by

Hong Kong, November 20–22, 2013.


The Virtuale Exhibition stands for Virtual Biennale and is brought to you by Digital Art Weeks International via SIGGRAPH Asia. The Virtuale Exhibition is an exhibition of Augmented Reality (AR) artworks for public space using new digital tools not only to view the artworks and to interact with them, but also to design the experience of participation itself. The exhibition encompasses artworks using AR and focuses on the use of public space, mobile communication technologies, and explores the types of audiences found in public space, as well as inventing “playful” new strategies to bring the public into the exhibit as “real” visitors being offered a unique experience.

Including Flotsam & Jetsam, John Craig Freeman


Flotsam & Jetsam is a virtual meta-commentary on global warming, expected sea level rise and the spread of plastic debris field gyres. More.

and Orators, Rostrums, and Propaganda Stands, John Craig Freeman


Orators, Rostrums, and Propaganda Stands, is based on the work of Gustav Gustavovich Klucis, including his designs for Screen-radio Orators, Rostrums, and Propaganda Stands from 1922. More.

Janine Antoni In BU

November 13, 2013 by

When: Thursday, Nov 14, 2013 at 6:30pm
Where: 855 Commonwealth Avenue (CFA Concert Hall)

Part of the Contemporary Perspectives Lecture Series. Free and open to the public.


Janine Antoni is a contemporary artist working in performance art, sculpture and photography. Antoni’s work is process-driven, and relates deeply to the artist’s body as both subject and mode of production. She has made drawings with her eyelashes, used her hair as a paintbrush, cast full body self-portraits in soap, and slept in a gallery for 28 days. Her seductive, culturally loaded materials—chocolate, cosmetics, the artist’s own body—reveal an interest in identity, power, and representations of the feminine in contemporary society. Her work is constantly evolving, pushing the boundaries that separate art from everyday life and objects, while simultaneously challenging her viewers’ assumptions about the world around them.

Collection of articles about Live Visuals

November 12, 2013 by

Live visuals have become a pervasive component of our contemporary lives; either as visible interfaces that re-connect citizens and buildings overlaying new contextual meaning or as invisible ubiquitous narratives that are discovered through interactive actions and mediating screens. The contemporary re-design of the environment we live in is in terms of visuals and visualizations, software interfaces and new modes of engagement and consumption. This LEA volume presents a series of seminal papers in the fi•eld, off–ering the reader a new perspective on the future role of Live Visuals.


Included is a particularly good article regarding simulating synesthesia.