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Software Project
Software Reading
--Erkki Huhtamo "Trouble at the Interface or the Identity Crisis of Interactive Art" (2004)
One important method described by Huhtamo is the interactivity of the observer with the art piece being viewed.
The user plays a major role in the success of the outcome. As stated by Erkki Huhtamo, "Interactive art added to
the mental activity a haptic dimension: the visitor was not only allowed, but required to touch the work." (2)
This forces the observer to become more than just a viewer but an integral part of the outcome. Technology has
allowed this particular type of interactivity to be performed, for without the use of input and output systems, the process could not take place. The viewer is also projected onto the
piece of art itself which makes it totally interactive.
An artwork I found which utilizes interactivity to create the final outcome is "Wooden Mirror" by Daniel Rozin,
which uses 830 square pieces of wood, motors, a video camera, computer and wooden frame to replicate what is in front of it by varying the angles of wood. The individual pieces of wood
all appear to change color and represent different pixels making up a bigger image.
Daniel Rozin, Wooden Mirror, 1999. Israel
--Lev Manovich "Database as Symbolic Form" (1999)
Within the text by Lev Manovich it is clear that a major factor in his artistic process is the power of the database. The ability to store
and recall mass amounts of information is important to the process of creating all kinds of "new media". As Manovich states, "The database becomes
the centre of the creative process in the computer age." (86) Through the use of databases, one can utilize different sets of data in "material existence"
allowing users to be able to interact with the piece instantly. This information can also be categorized and sorted immediately.
One example of databases used to create art is "Pockets Full of Memories" by George Legrady (2003-2006) which is an installation where individuals take a
digital image of something and add a description which is then sorted and organized depending on the similarities attributed to the image. The image they choose is then projected onto
the wall. This applies to the utilization of databases because it is an integral part of the piece itself to store and recall information about the pictures uploaded. The information then
must be sorted in able to be placed exactly where it needs to be.
George Legrady, Pockets Full of Memories, 2001. Ars Electronica, Linz, Austria (2003)
--Florian Cramer "Concepts, Notations, Software, Art" (2002)
The use of software becomes a tool for creation in art. Within this text, we are shown how programming and software can become a powerful way of creation.
Utilizing instructions given to the computer, databases of information can be sorted and used in whatever way necessary. This can then be used to create patterns
or visually amazing pieces by telling the computer to create it with a piece of code. An important aspect of this reading is the ability for instructions to be written and executed.
Basically the user tells the computer to draw a straight line and the computer complies, thus allowing visuals to be created through words.
One example I found of this is a digitally created piece called "Digital Nostalgia, Iteration 2, colorMode(0, 0, 0)"
by Antoine Jaoude. In this piece, written software is used to create visuals not through the artist hand, but through a language written on the computer. Although this piece does use movement
of the mouse, it is still created using software written by the creator. The piece consist of many black
and white circles layered on top of each other in a fashion that is visually memorizing. This piece is particularly interesting because the ability of the computer to receive instructions
and in turn create art.
Antoine Jaoude, Digital Nostalgia, Iteration 2, colorMode(0, 0, 0).
Software Project
Software Reading
--Erkki Huhtamo "Trouble at the Interface or the Identity Crisis of Interactive Art" (2004)One important method described by Huhtamo is the interactivity of the observer with the art piece being viewed. The user plays a major role in the success of the outcome. As stated by Erkki Huhtamo, "Interactive art added to the mental activity a haptic dimension: the visitor was not only allowed, but required to touch the work." (2) This forces the observer to become more than just a viewer but an integral part of the outcome. Technology has allowed this particular type of interactivity to be performed, for without the use of input and output systems, the process could not take place. The viewer is also projected onto the piece of art itself which makes it totally interactive. An artwork I found which utilizes interactivity to create the final outcome is "Wooden Mirror" by Daniel Rozin, which uses 830 square pieces of wood, motors, a video camera, computer and wooden frame to replicate what is in front of it by varying the angles of wood. The individual pieces of wood all appear to change color and represent different pixels making up a bigger image.
Daniel Rozin, Wooden Mirror, 1999. Israel
--Lev Manovich "Database as Symbolic Form" (1999)
Within the text by Lev Manovich it is clear that a major factor in his artistic process is the power of the database. The ability to store and recall mass amounts of information is important to the process of creating all kinds of "new media". As Manovich states, "The database becomes the centre of the creative process in the computer age." (86) Through the use of databases, one can utilize different sets of data in "material existence" allowing users to be able to interact with the piece instantly. This information can also be categorized and sorted immediately. One example of databases used to create art is "Pockets Full of Memories" by George Legrady (2003-2006) which is an installation where individuals take a digital image of something and add a description which is then sorted and organized depending on the similarities attributed to the image. The image they choose is then projected onto the wall. This applies to the utilization of databases because it is an integral part of the piece itself to store and recall information about the pictures uploaded. The information then must be sorted in able to be placed exactly where it needs to be.
George Legrady, Pockets Full of Memories, 2001. Ars Electronica, Linz, Austria (2003)
--Florian Cramer "Concepts, Notations, Software, Art" (2002)
The use of software becomes a tool for creation in art. Within this text, we are shown how programming and software can become a powerful way of creation. Utilizing instructions given to the computer, databases of information can be sorted and used in whatever way necessary. This can then be used to create patterns or visually amazing pieces by telling the computer to create it with a piece of code. An important aspect of this reading is the ability for instructions to be written and executed. Basically the user tells the computer to draw a straight line and the computer complies, thus allowing visuals to be created through words. One example I found of this is a digitally created piece called "Digital Nostalgia, Iteration 2, colorMode(0, 0, 0)" by Antoine Jaoude. In this piece, written software is used to create visuals not through the artist hand, but through a language written on the computer. Although this piece does use movement of the mouse, it is still created using software written by the creator. The piece consist of many black and white circles layered on top of each other in a fashion that is visually memorizing. This piece is particularly interesting because the ability of the computer to receive instructions and in turn create art.