bsalmond /0607 /bms-210-assign 3

As I initially envisioned this project, the creation of a process that captured lost or neglected digital material and automatically assembled this material to create a new aesthetic whole, complete with a meaning and depth unattainable by any of its own singular components, would help me explore the nature of aethetics within the realm of digital media. I intentionally wanted to keep this project apolitical and without any grandiose statements about the state of our world or the depraved state of our govenment. I was primarily interested in exploring the nature of aethetic, particularly the aesthetic of found object assemblage.

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This was to be studied simultaneously with the concept of automomated/structured assemby through the use of a computer, and the results attained in the form of "art" from decisions made via data mining or AI computational techniques. As I researched this further I have determined that this is not sufficiently imbued with social context. The project is devoid of any cultural relevace beyond an inspection into the nature of aesthetics and the gee-whiz element of automated assembly. The study of aesthetic is a noble pursuit, but in addition to having an increased dynamism to the image assemly I am now interested in combining this type of deconstruction, storage, reconsruction, display aethetic with a in depth monitor of the externalized world as viewed through the internet.

Strengths

Weaknesses

Below are some responses to questions about this (sortof) project:

Do you want your final art pieces to be soley internet based or do you see them being tangible art forms like a sculpture or a painting?

This is an interesting notion, I thing with the advance of technology such as rapid prototyping machines, this type of project could be translated for use with a device that creates objects. Or as well could be used to control some device (i.e. utube link thanks kaetlin) that realizes digital form in actual non-digital medium. This notion would add yet another dimension of transformation to the process.

Whether you agree or not of your works being categorized as a 'conceptual intervention', how does that affect your goals and direction as an artist? In what ways could you attempt to achieve this effect in a more specific way?

I am primarily interested in the dialoge between the subject and the image. I would like to tailor this particular installation around the preferences or charatericstics of one user. Perhaps the aesthetic will also take into consideration the credit score or location of children or loved ones via cell phone connection. I think this will help acheived the assemblage effect in a more specific way. As far as this being a "conceptual intervention" I agree with the label insofar as the piece will deal with the broad concepts of security, happiness, and aesthetic.

do you think the use of automation in creating and exhibiting artwork creates an environment of conceptual intervention? does the automation allow everyone to create and exhibit art as well as detract from the images of others?

It would be interesting to see the results of a "family" security portrait, where the interests (as defined by monitoring preferences), concerns of one member all members of the family will be conveyed within the portrait competing with the other compositions.

Questions for Sharon

How important is the social context for a piece like this, will the investigation into the notion of secuity detract from the investigations into the assembly of the aesthetic?

How can I assure that the piece speaks to multiple audience members if the response/analysis is tailored to one user?

Is the notion of personal security in relation to US security a tired concept?

Does the socio-political context detract from the message of the piece, what is the context of the piece?


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