#49

Meeting with supervisor

 

1. VIDEO

(1) EKG line part – too long
(2) Matrix rain not good ->  digital city?
(3) Bad TV effect could be more, time to time
(4) Bubble face effect not fit -> make more digital like; Reverse
(5) Grandpa appear -> block appear -> layer -> grandpa disappear
(6) The color part -> background pure white better than noise -> Frame jump & Screen jump & layer things up
(7) Hologram Screen could be bigger

 

2. STAGE

(1) Try project from backside, screen -> Timo, DMSP

 

3. BOOK

(1) <The Presentation of Everyday Life> Irving Goffman
(2) <The Second Self> Sherry Turkle
(3) <Life on the screen> Sherry Turkle
(4) <The Inner history of devices> Sherry Turkle

 

4. ESSAY ABSTRACT

(1) Question not good.

Essay_Outline_v1

Essay Question:

How to Position Yourself in Multimedia World?

 

Essay Outline:

1. Building Your Digital Presence – Digital Footprints

(1) Sources of Personal digital data – left either by yourself or others

<Digital Footprints Set Up>

https://drive.google.com/file/d/0B1zcyCFX9yk3Yndma3U5Sjd3djQ/edit?usp=sharing 

“Security company AVG has revealed 37 percent of babies already have an online presence from the day they were born; and 23 per cent of children have their pre-birth scans uploaded to the Internet by their parents – files that can be megabytes in size. Seventy per cent of mothers said the ability to upload and share these pictures with family and friends was the motivation for posting information of their children online.”

<Oversharing on Social Network>

http://www.bbc.co.uk/news/technology-25196063 

You might already have digital footprints before you born. For example, your parents share your moments online when you are still baby. And these digital footprint might become the first thing people search online before meeting you in the future.  

(2) Digital Presence’s Impact on personal or professional life

(3) Control/Management over Digital Presence

– Google Forget Me

2. Leaving Your Digital Presence – Digital Afterlife

(1) Death Or Live in other form

<Your Digital Afterlives: Computational Theories of Life after Death>

https://docs.google.com/file/d/0B1zcyCFX9yk3dzhaTVZYUC1lSm8/edit?pli=1  

Literature of Philosophy and Religion

Very interesting ideas about soul, ghost and god

(2) Issues about digital data after your death if you fail to make a will on digital data. – Cases

(3) Current Solutions:

– Google Account Management

– Liveson.com -> keep tweet for you, big data analysis -> (In my performance, AI system)

– Facebook Memorial Page

(4) Future Studies on this generation

3. The Relationship between Digital Self and Physical Self 

(1) Is digital avatar your true self?

(2) The multimedia performance – to investigate human’s position on mulitmedia culture -> (The presentation style of my performance)

<Multimedia Performance> by Rosemary Kilch & Edward Scheer

“The human itself attempt to understand its position in the space of technology.”

“Multimedia performance, as a medium that incorporates both real and virtual, live and mediatised elements, is in a unique position to explore and investigate the effect of extensive mediatisation on human sensory perception and subjectivity.”

Dissertation General Structure

Introduction:

To make use of various digital media, such as 3D modelling, Max, After Effect and so on, to present a play on stage about a girl interacting with her dead grandpa via digital devices through an Artificial Intelligent system. It aims to raise audiences’ awareness about the management of their own digital data especially after their death.

Main body:

1. Digital Data Management

  • Research on the ubiquitous phenomena of people leaving digital footprint on various digital devices, not only online.
  • The controversial issue of Digital Afterlife
  • Current various solutions

2. Digital Art

  • Research on digital art
  • Insights on how digital media assists stage show, especially how digital media or technology can play across storytelling.

#66

Intern Review Meeting

Suggestions on the performance:

  • EKG Lines become active agin and forms ASCII Man
  • iPad projection on the face
  • It is unnecessary to be constraint to be digital data online. It could be any data on various digital technology or devices, even the phone itself. Like the example of the “Phone Hacking Case” where someone else hacked the phone of a dead schoolgirl and created wrong impression that the girl was still alive.
  • Think about the new digitalisation of data. What could be the presentation of digital life form? On and off, one and zero, ASCII code… …

 

Suggestions on the research/written part:

 

Always Back Up.

Book Notes from “Digital Art”

“Digital Art” by Christiane Paul

“Artists have always been among the first to reflect on the culture and technology of their time, and decades before the digital revolution had been officially proclaimed, they were experimenting with digital medium.” (P7)

“Information Space and interface”
“In the late 1968, Douglas Engelbart from the Stanford Research Institute introduced the idea of bitmapping, windows, and direct manipulation through a mouse.”
“In bitmapping, each pixel of the computer screen is assigned to  small units of the computer’s memory, bits, which can also manifest themselves as ‘on’ or ‘off’ and be described as ‘zero’ or ‘one’.”
“Graphic User Interface (GUI)” “Alan Kay and Xerox PARC”
(P10-11)

Digital Art movements:
“Dada”, “Fluxus”, “Conceptual art”
“The importance of these movements for digital art resides in their emphasis on formal instructions and in their focus on concept, event, and audience participation, as opposed to unified material objects.”
(P11)

“Controlled randomness”
“The element of a ‘ controlled randomness’ that emerges in Dada, OULIPO, and the works of Duchamp and Cage points to one of the basic principles and most common oaradigms of the digital medium: the concept if random access as a basics for processing and assembling information. American digital artist Grahame Weinbren has stated that ‘the digital revolution is a revolution based on the possibility of instant access to media elements that can be reshuffled in seemingly infinite combinations.'”
(P15)

“Experiments in Art and Technology (EAT)” (P16)

“Digital art projects often require audience engagement and do not reveal their content at a glance.” (P23)

“… absence becomes a presence in its own right.” (P38)

(above left) Charles Cohen, 12b, 2001. (above right) Charles Cohen, Andie 04, 2001.

[Digital art installations] “Many are aimed at creating ‘environments’ that can entail varying degrees of immersion, ranging from pieces that strive to envelop the audience in a projected environment to those that immerse them in a virtual world.” (P71)

“In one way or another, all are concerned with possible relationship between the physical space and the virtual, and what distinguishes them are the balance between these two realms and the methods employed to translate one space into the other: Some artworks try to translate qualities of the virtual world into the physical environment; others strive to map the physical in the virtual; and yet others are aimed at fusing the two spaces” (P71)

“relational architecture”
“the technological actualization of buildings and public spaces with artificial memory.”

Rafael Lozano-Hemmer, with Will Bauer and Susie Ramsay, Displaced Emperors (Relational Architechture #2), 1997 (P74)

Erwin Redl, Shifting, Very Slowly, 1998-9 (P77) – LED lights

Marko Peljhan in collaboration with Carsten Nicolai, Polar (P83)
http://polar-m.ycam.jp/about_en.html

 

 

 

 

Jess Gilbert, Helen Thorington, and Marek Walczak, with Hal Eager, Johnathan Feinberg, Mark James and Martin Wattenberg, Adrift, 1997-2001
http://turbulence.org/adrift/

Knowbotic Research, Dialogue with the Knowbotic South, 1994-7