final.fla

https://webfiles.colorado.edu/mccartnj/final

Just click on final.fla

digital art chapter 3

This chapter centers around the idea that there are many themes in digital art. One of them being artificial intelligence. This is expressed one way by Licklider who authored the paper 'Man-Computer Symbiosis, this is the notion that computers are men can work together to formulate decisions and controlling complex situations. It is interesting to think of computers as partners able to assist humanity.  The transformation of information and the survival of the (aesthetically) fittest also form a theme in digital art. I think that this is an interesting theme in that the internet could easily become a form of information only, and have no artistic value to it at all. But i think that humans are such visual beings that websites will always have to have an aesthetic value to attract an audience. The internet is too good of a means for the exposure of artistic expression for it to become a means for information only. I really like the piece A-volve. I think the interactive program was very advanced for the time. There are also a few other projects like A-volve that follow the rules of genetics and natural selection to make life. I like this chapter because it really explored artificial intelligence and how it can improve in the future. 

project 3

https://webfiles.colorado.edu/xythoswfs/webui/_xy-912773_4

The name of this project is cherries.

Internet art: chapter 4

The chapter begins with a very interesting story. The story is about a piece by Wolfgang Staehl, in September of 2001. He positioned cameras in very populated areas, such as a castle in Bavaria, the TV tower in Berlin and the skyline of lower Manhattan. His original objective was to capture the normal progression of everyday life at these locations, except one of them happened to capture something completely unexpected. The skyline of lower Manhattan captured the attack on 9/11. This turned into an articulation of the role mass media images could potentially take on. It inadvertently turned into a piece of journalism, and documented the aftermath of the tragedy until October. I didn't know that the internet had advanced so much in the last ten years. I thought that most of what we have today, was available in the late 90's. Additionally, I liked Keith Obadike's piece were he put his blackness for sale. In his piece he tells the advantages and disadvantages of his race. It is a very different take on how identities are structured in relation to the ways they can be objectified or sold. This chapter displays the reaction of artists to the shift in the internet to a unprivate and  business based system.

internet art: chapter 3

Heritage Gold (1998) was an interesting concept. The creator, Mongrel, a gallery of different faces all different ethnicities. The different ethnicities were supposed to represent the complexities of life. It seems that the different faces are manifestations of how different lives can be. In 2000 art major art museums finally started commissioning internet art for their galleries. I think that this was due to all the publicity that eToy and other controversial sites were getting. the internet was becoming more known and available. At this time it also seemed that information and art were beginning to be juxtaposed on websites. I don't completely understand what the website 0100101110101101.ORG's complete objective was, but it mainly seemed to focus on "privacy is obsolete". That the internet shouldn't be so exclusive with passwords and private accounts, but it should be a source of infinite information for anyone. I like the analogy that Anne-Marie Schleiner makes with art as 'culture hacking'. Art does give insight into the context of culture as well as the individual in their art. I also thought that the Trigger Happy internet game was an interesting idea. It challenged the viewer to choose between reading the paragraph on the screen or making points for the game. This chapter displayed the advances in the internet, as well as the challenges companies faced trying to keep in business or make controversial statements. 

internet art: chapter 2

When email first came out, face to face meetings were still popular. Emails were immediate and convenient, but in person meetings were more intimate and it was less likely for misinterpretations to happen. Face to face meetings were essential to the early net art scene for bonding. I though that it was interesting that everything did not depend on the internet once people started using it. Bonding and intimacy was still crucial for artists to sell their work and connect with other artists. Conferences such as 'Beauty of the East' in 1997, also brought artists together to catalyze change for net art. I didn't know that art galleries did not initially hold internet art, because it was difficult to sell, had difficult display aesthetics and projects were technically complex. I'm sure that it was hard for artists not to have the support of galleries. I thought that John Simon Jr.'s Every Icon(1997) piece was very original. The piece had an icon described by a 32 by 32 grid, and any element of the grid could be colored black or white. With in these limited guidelines this grid, the artist estimates that this grid can manifest every image across several hundred years. I also thought that it was interesting that artists use porno films to write ASCII since they need undetailed videos and porn films are 75% close ups.

website

Website project