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