Video From Technology To Medium

Author : Yvonne Spielmann

Chair : Moonsun Choi
Panal : Hyunkyoung Cho, Youngsun Choi, Kyungho Lim

• Technologies of the electronic medium
  - video and the computer are more closely connected media than film and video technologies.
  - Philippe Marion, "Wehn a medium apperars, an intelligible media culture already exists. When a meduim comes into the world, it must also come to grips with preestablished codes (genres, institutions, other media, etc.)."
  - video is the first audiovisual medium.

• Video's position in the media system
  - Video's immediac and potential for processing generate a concept of the image that is different from other time-based media(photography, film)
  - The status of the image changes in video
  : electronically recorded, transferred to another divice, transmitted to a monitor.
  - The flexible, unstable, incoherent, and nonfixed forms of the video image
  : refered to as imagery.
  - Video appears in modular presentations wherever the machines can be plugged together, so there is no systematic relationship between the placement of the apparatus and the medium's temporal-spatial model of addressing the viewer.
  - Video's open-apparatus structure includes the multiple possibilities for the audiovisual exchange of electronic waveforms.

• Does difference matter?
  - Video has entered a larger arena of media production and as a result is represented in many media applications, such as video-film, video installations, and video clips on Web sites
  - once video was successfully established as a proper medium, it then converged into mixed-media forms.
  - Because of its flexible, nonfixed, and unstable structure, video is an easy tool to adapt to all different kinds of media.
  - it doesn't constitute a real medium, but rather the positon of an intermediary state, somewhere on the continuum between analogue and digital computers.
  - Video was aethetically different from film and television and despite its poor image quality and limited applications, video was welcomed by experimental practitioners of performance, Happenings, and Fluxus events.
  - the stated collapse of video into the digital is the seeming logic of the convergence of film and video under the new umbrella.
  - there is a need to re-exanine the development of video as a meduim and its incorporation into digital form, while making some comparisons with film and, in turn, its simulation within the digital domain.
  - Contemporary "video installations" are less concerned with video than with other media forms.
  - in ther context of new media the older meduim of video has become a means and a technique in the service of interactive installations in which video sequences are iplemented to expand and enrich the "new" medium.
  - When we discuss such elements of interactive and multimedia installations, we don't recognize video per se.
  

• The electronic medium
  - video as a meduim is by its nature inclined to processing, while the digitally encoded image that results from programming can theoretically generate all possible image forms.
  - In a comparative examination of media forms, the predisposition of the electronic to processing and the interchangeability of its audio and video streams toghther characterize the technical conditions that ground the realization of the aesthetic forms specific to video.
  
  
  

Art History and the Digital World

Chair : Taehoon Lee
Pannel : Seok Jun, Kiwon Song

"We have digital masters, and there no longer exist machines that can read them"

＊Archive & Consiervation
- It's hard to be maintain and preservation.

＊Problem of Storage Medium
- copying VHS → ripping DVD


"New Publishing Paradigms"
traditional formats of print medium → a new form of publication

* Moritz
technology development
→ comprehensive knowledge environment for the arts and history
→ extended audience of scholor...



○ Folksonomy : folk + taxonomy
- collaborative tagging
- social classification
- social indexing
- social tagging

- Metadata is generated (expert, creators, consumers) of the content

* social bookmarking

* Why deal with this storage topic?
bacause we are scholar, researcher.
(we are the level of produce the information, knowledge.)

Tango Tangle & Constrains and creativity

Interactive Experience in Public Context : Tango Tangle

• Understanding interactive experience in public context in an external public place.
• Tango Tangle : Ernest Edmond
  - responds to sounds from people talking to pianist playing
  - screen shows various numbers of colored strips.

1. The evaluation of the user experience in the computer-based media art.
1) Ontological Topology
- Meaning occurs through the processof exchange, and interactivity itself is the very medium of the work.
- Human actors "archive" meaning in their encounters with interactive artifacts through action.
- understanding interactivity as a medium

2) Related work of the user evaluation
- evaluation method
; education, interpretation → long-term context for collecting data on the audience experience
; from HCI → dedicated base for interactive creative development
※ scope of audience
- in the gallery(museum) : already know, be ready audience
- public space : everybody, open space, by chance, not focusing group
※ real problem is that result cannot be predicted.

2. Serecdipity and conclusion
1) jazz concert VS tango tangle
- by social or other types of interactions as far as the input from other resources are recognized and interpreted by the indivisual.
2) "improvization" : unpredictable

Constrains and creativity in the digital arts.

• Constraints make change
  - "a territry of structural possibilities which can be explored and perhaps transformed to give another one"
  - New genre with its own constraints.
• from tonal to atonal music
  - "B" of Blue Note (피아노 처럼 규정된 음이 아닌 음과 음사이의 경계를 넘나드는 음)
  - B level movie : it's not second level, B means blue.
• Constructivism
  - use pure form and color
  - They believe that this sort of art is more fit to the socialist system.
  - Malevic
• Manfred Mohr
  - action painter, jazz musician -> computer (with painting and music element)
  - "... abstract ideas and the creation of my algorithms".

※ Manfred Mohr's constraint ; "I'm not a good programmer"
※ Painter's constraint ; "I cannot make two sametime" (simultaneously)
※ Manfred Mohr's constraint ; "light", "color templeature" "reproduction"
많이 프린트할 수록 비싸게 팔 수 없다.

SwarmArt: Interactive Art from Swarm Intelligence

SwarmArt: Interactive Art from Swarm Intelligence

Christian J. Jacob, Gerald Hushlak, Jeffrey E. Boyd,
Paul Nuytten, Maxwell Sayles and Marcin Pilat

2007. 11. 6. Tue.
• Chair : Kyungho Lim
• Panel : Chee Onn, Moonsun Choi, Kiwon Song

Paper Discussion

1. Introduction

• Behavior of insect
  - nindividually : simple or random
  - collectively in a swarm : complex and intelligent patterns
• Highly coordinated behavior
  Swarms of bees, colonies of ants, schools of fish, flocks of birds and fireflies flashing synchronously
• SwarmArt
  - collaborative project : several computer scientists & an artist
• Incorporate elements
  - swarm-based system
  - video-based image processing
• The project originates from the idea that the highly dynamic properties of swarms suggest and enable innovative methods of design, providing new tools to create artwork, such as virtual sculptures built by computer simulated swarms of ants.
  

2.1 Swarm Intelligence

• AI technique about collective behavior in decentralized, self organized system.
• Simple agents interacting locally with their environment – leads to global behavior.
• No centralize control.
• Example: Ant colony, bird flocking, animal herding, bacteria growth, fish schooling.
  

2.2 Swarm mind-set

• Being able to understand, such systems would be very beneficial
• Ex 1 : Ants can play music
  - Generating music by simulating moves of artificial ants on a graph (vertices represent notes, edges represent transition between notes).
  - Ants collectively build sequence of melody in midi.
• Ex 2 : Swarms of robots.
  Collective & cooperative behavior in swarm robots ie.
  In mobile computing, swarm of tri-wheeled robots than can exchange information via wireless architecture.

3. Key factors of SwarmArt

• Simulation of collective behavior and art
  - Apply Genetic Programming to evolve
• Video interaction
  - User interaction = essential part of swarm art for exhibition in museum.
  - Implement visual interface uses video camera & computer vision algorithms embedded
  for visual interaction
  

4. Installation of SwarmArt

• SwarmArt 2002 : How it works
• SwarmArt 2003 : colored balls
• SwarmArt 2004
  Two cameras took live video from the interaction space, and two displays projected onto the two sides of a corner (Fig. 6a).
  Colorful balls and umbrellas invited visitors to play with the objects, thus creating live action for the cameras to capture, which appeared immediately on the projection screens.
  To one of these live video feeds projected on the left.
  They applied the swarm technique as described above, where the image would seem to decompose and be reassembled by the swarms (Fig. 6b).
  On the second screen to the right we displayed randomly selected rectangular sub-sections, taken from the primary display (Fig. 6c).
  This created another dimension of composition and decomposition of the live video feed by integrating it into choreographed swarming arrangements.
  

5. Conclusion

• Symbiotic nurturing partnership
• Apparent disorders become aesthetic curiosities and catalysts for thought
• Weak point
  - Not these related constituents position themselves in space
  - Not interesting to enough to be considered sculpture
• As understanding of swarm process
  - To create and share playful sculptural moments in museum installation

Panel Discussion 1 : Interactive Art - Moonsung Choi

• What is fascination of Interactive Art
  - completion of conceptual art : not important matrial, mental thing is important.
  - interface may be obstacle?
• Choice of interactive art work : “void(traffic)”
  
  
  

Panel Discussion 2 : Performing Art - Kiwon Song

• General performing art
  - Russel Maliphant’s modern dance
  - Samsung's card section as a group performance
• Main elements in the performing art for impression
  - Elaborate choreography
  - Excellent playing of a dancer
  - Sound, music, lighting
• The performing art with digital media and technology
  - "Hunt" : Tero Saarinen
  - "Dancing Brush: Six Dances Interacted with Body Brush"

Games as Art : The Aesthetics of Play

Games as Art : The Aesthetics of Play
Celia PearceVisible Language; 2006; 40, 1; Academic Research Library

2007. 10. 30
Chair : Hyunkyoung Cho
Pannel : Moonsun Choi, Yonggeun Kim, Youngsun Choi, Cheeone

1. Intermedia

○ Integration of multimedia.
- not intended to conform to the pure medium. (sounds good, but it is not pure.)
- pure medidum is traditional media
- intermedia different from pure media

○ "environment"

○ Allan Kaprow " mediated on the relationship of the spectator and the work."

○ happening vs performance
- happening : just ready go, let's see
- performance : it has a scenario


2. FLUXUS
○" flow"
○ Intermedia : Blending different artistic visual art, music, literature, urban planning, archterture and design
○ Free from materials and format
○ "Everyone is an artist"
- I think that everyone was born with instinct of an artist.

3. Open Source
○ open source VS commercial
- always commercial win!
- without competition, we don't produce anything.

○ patch
- small piece of software desingned to update
- fix problems with a computer program
- supooring data
- patch : for ready made thing

○ I think that patch is similar to 'surture.'

○ Air is free.
- Processing is free too.
- But Processing book is not free. (MIT Press selling this book in Amazon.com)

4. Appropriation : 전용 or 도용
○ Andy Worhol : He is a designer.
- commercial one -> paingting into the gallery
- making them synical, or making them funny

○ 아서 단토 : materiallity
- material, object, medium : they are not important.
- meaning of art is important.

(open source)
○ context ------------> context
(patch)

5. Virtual Reality
(cf. musical score, game engine as an art score)

○ "player"
- connotations : a musical instrumentalist
a stage actor
a performer

○ Virtuosity ( a kind of technic)
- integral to the playing of both music and games.
- a fludity between play and music.
- everyone is an artist
: it is the instinct. roll, name.

○ Chance Operation
- computational game-based art is based on unpredictability of computers
- cause unforeseen result

6. The New Collectivism
○ 'elitism' (Nerds rule) : proud themselves

Towards an Ontologocal Language for Game Analysis

1. "gameness" of games

ex) 'horror factor in game' -> Horror is one of gameness.


2. ontology
- philosophycal term : 존재론?
- computer science term : relationship of data, database, context, etc.

traditional view : similarity

prototype view : alternative

we must forget ontology as philosophical mean, so we can understand ontology of games in this paper.
Developing a game ontology that identify structure element of games, its relationships between them, and dorgarnize it.

3. Interactivity
How can we understand interactivity in games?

• Hardware : Player and Device
• Software : Player and Interface
  Player and Another Player

4. Space

Representation -> Space Invaders : 3D
Gameworld ----> Space Invaders has a 2D Gameworld
Gameplay -----> The space of movement for the player is only 1D

5. Regulation of Gameplay Over Time

"Level", "Wave", "Checkpoint"
a form of Segmentation of Gameplay regulation (by the software.)


※ This paper seems to just educational not practical.

Collaborative Games: Lessons learned from board games

Collaborative Games: Lessons learned from board games

Jose P.Zagal, Jochen Rick

- 16. 10. 2007

Chair : Seok Jun
Panels : Giwon Song, Taehoon Lee, Kyoungho Lim

Keywords : board game, collaboration, competition, lesson learning, virtue
***************************************************************************************

Last saturday, I had gone to Kangnam station to play this board game, "Lord of the Ring".
Game players were Seok, Giwon, Taehoon and me.
At first time, we had to learn the rule of this game, so we played a game eagerly.
We failed to achive our goal, the ring carrier was died easily.
At second time, we could cunsult with each other, much more.
This game was interesting for me, and I knew some good point of this collaborative game.

1. It is possible to construct good cooperation system
- The game participant is the friendly relations that are not antagonistic relation
2. Smoothly communication to achieve a joint aim
3. I find the virtue of concession and sacrifice
- This game can arrive at the human good true character
- Because the system is prepared to use the good true character

Outline for final paper

제목 : 뉴미디어를 활용한 한국 전통 소재의 새로운 재현

뉴미디어아트라 일컬어지는 현대의 미디어아트는 기술 없이는 작품의 성립조차 생각할 수 없을 만큼 기술 의존적이다. 기술이 발전함에 따라 미디어아트가 함께 발전하기도 하며, 때로는 기술이 주가 되어 새로운 형태의 예술이 실험적으로 시도되고 있기도 하다.

디지털 기술의 발전에 따라 전통적인 소재가 새로운 형태의 작품으로 탄생하기도 한다. 리처드 헌터는 그의 저서 "유비쿼터스: 공유와 감시의 두 얼굴"¹⁾에서 디지털 기술에 의한 '예술적 결과물이 물질(object)인가? 아니면 행위(performance)인가?' 와 '결과물이 물질이라면 그것이 디지털 형태로 변환되어 배포될 수 있는가?' 라는 두 항목을 염두해 두고 예술적 창조 활동에 의한 '3차원적 작품의 가치가 증가'와 '행위예술(performing art)' 작품의 득세'를 예측한다. 예술적 창조활동에 의한 결과물은 디지털 기술로 복사해도 '진품과는 다르며' 예술 행위의 디지털 복사본이 널리 퍼질수록 홍보효과를 얻기 때문이다.

저자는 이러한 형태로 진화해가는 기술기반 미디어아트의 연구를 통해 한국의 전통적인 소재를 표현하는데 있어서 디지털 기술을 활용하여 보다 효과적이고 미적 양식을 새롭게 만드는 뉴미디어 아트의 활용에 관하여 2007 국립 민속박물관 기획전시 "The exhibition of The sound of Korea" 사례를 통해 이야기 하고자 한다.

---

1) 리처드 헌터, 유비쿼터스: 공유와 감시의 두 얼굴, 21세기북스, 2003, p.221~p.224

Formulating Abstraction : Conceptual Art and the Architectural Object - Therese Tierney

Chair: Kiwon Song
Panel: Moonsun Choi , Kyoungho Lim, Younggeun Kim
- 2. 10. 2007

Keywords : architectural image-object, conceptual art, medium specifity, dematerialzation, technology

The forces that contributed to the dematerialization of the art "object" are in many ways similar to those at work in the dematerialization of the architectural "object," giving rise to increasing attention to process and context. This philosophical shift could be said to have originated when art critic Clement Greenberg’s argument for medium specificity ultimately exhausted itself.

예술의 "object"의 비물질화에 공헌했던 그 힘은 건축의 "object"의 비물질화된 작업에도 프로세스와 컨텍스트에 주목하기 시작했다는 점에서 여러 가지 식으로 비슷하다. 이러한 철학적 (관심의) 이동은 예술 비평가인 Clement Greenberg가 궁극에는 매체 자체가 다 고갈되어 버린다는 매체의 특수성을 주장했을 때 로부터 태동되었다고 말할 수 있다.

Any reconsideration of the architectural image-object has serious consequences, because the image instantiates not only a process of information exchange but also a mode of thinking. The term image will be used here to describe architectural drawings, whether analogue or digital; photographs; renderings; animations; or new media.

건축적 image-object의 재고는 매우 중요하다. 왜냐하면 이미지는 정보 변화의 과정 뿐만 아니라 사고방식 또한 예를 들어 설명해 줄 수 있기 때문이다. 이미지라는 용어는 건축 드로잉, 아날로그든 디지털 이든; 사진; 렌더링; 애니메이션; 또는 뉴미디어로 설명되어 지는 것들로 쓰여진다.

Jacques Herzog and Pierre de Meuron :
Architectural expression could be said to operate on multiple registers, only one of which is material; it is defined by a process and is part of a larger cultural and biological system
건축적 표현은 복합적인 기록들을 조정한다고 얘기될 수 있다. 오직 물질의 하나가; 그것은 과정에 의해 정의된 것이고 또 그 것은 커다란 문화적, 생물학적 시스템의 일부이기도 하다.

PERSPECTIVES

Given that materiality was replaced exclusively by ephemeral experience, contextuality became foregrounded and instrumental in the perception of the work of architecture. Historically, classical/modern architecture viewed the singular built object as inseparable from the architectural experience. However, upon reexamination, this is always revealed to be an assumption. The definition of an architectural experience is in fact embedded within a larger social and cultural system.
주어진 물질성(materiality)은 순간의 경험에 의해 배타적으로 되돌려졌고, 맥락성(contextuality)은 건축 작업의 인지의 측면에서 전면으로 드러나 산업적인 것이 되었다. 역사적으로, 전통적/모던 건축은 건축적 경험과는 분리되지 않은 채 단일한 object 축조로 보여졌다. 그러나, 재검해보건데, 이것은 항상 가정한 것으로부터 추출되었을 뿐이다. 건축 표현이란 말뜻은 사질상 거대한 사회, 문화적 시스템 속에 포함되어 있는 것이다.

The gradual infiltration of these three art movements, Arte Povera, process art and art-and-technology, as part of the larger conceptual art movement, into architectural modes of thinking and production indirectly contributed to a transversal of media boundaries to include digital forms of expression and ultimately to an unprecedented dematerialization of the architectural image-object.

개념미술운동의 큰 부분을 차지하고 있는 Arte Povera, process art and art-and-technology 건축적인 사고와 생산에 디지털 형태의 표현과 궁극적으로 전례없던 architectural image-object의 비물질화를 포함하고 있는 매체의 경계선상을 횡단하는데 간접적으로 공헌하였다.

Another Issues
1. 'Immateriality' in artwoks
2. Architectural experiences in the digital space
3. Similarity of contemporary architecture and interactive media art : human centered

My possible topics

1. My favorite topics : I want to be a chair for this topic.

[Week 11]

• Zafer Bilda. "Interactive Experience in Public Context: Tango Tangle." Leonardo August 2007, Vol. 40, No. 4: 364-365.
• Linda Candy. "Constraints and Creativity in the Digital Arts." Leonardo August 2007, Vol. 40, No. 4: 366-367.

2. Second topic : I want to be a panel for this topic.

[Week 10]

• Christian J. Jacob, Gerald Hushlak, Jeffrey E. Boyd, Paul Nuytten, Maxwell Sayles and Marcin Pilat. " SwarmArt: Interactive Art from Swarm Intelligence." Leonardo June 2007, vol. 40, no.3: 248-254.

Here I am!

Hello! This is Kyungho.

I am glad to meet you in our same class.

This blog was made for my class, Advanced Media Aesthetics.

I am sorry, I cannot speak english well.

When I speak wrong English or Konglish, understand me please.

Thank you~

(I don't know how to end this posting... ㅠ.ㅠ)