Video differs from television and film due to the function of the apparatus specific to each medium. Firstly signals of the electronic medium (video) are output interchangeably as audio or video and can be fed back as video input, and so forth vice versa. Secondly, Video’s open apparatus structure includes the multiple possibilities for the audiovisual exchange of electronic waveforms. Therefore video is the first audiovisual medium. These differences do matter why video plays an important role in artworks as a part or as a whole.
The author argues video has not become obsolete with the development of computer, but on the contrary has incorporated analogue computer applications since the early 1970s. And video has further enriched an electronic media culture increasingly oriented toward signal processing and digital imaging.
Dan Sandin
He made an image processor named Sandin image processor for his own video works. It was video synthesizer and accepted basic video signals and mixed and modified them with audio. It’s an analog, modular, real time, video processing instrument.
Physically, an Image Processor system would be built out of modules. Several types of modules were defined and typically would be an aluminum box containing a circuit board inside, video connectors and knobs on front of box and power connector on back of box. It provided video processing performance levels and produced subtle and delicate video effects of a complexity not seen again until well into the digital video revolution.
David Stout: NoiseFold
NoiseFold is an interactive visual-music-noise performance that draws equally from mathematics, science and the visual and sonic arts. This networked performance duet explores the use of infrared and electromagnetic sensors to manipulate and fold virtual 3-D objects that emit their own sounds. The work integrates multiple techniques including; real-time 3-D animation, mathematic visualization, recombinant non-linear data-base, A-life simulation, image to sound transcoding, complex data feedback structures and a variety of algorithmic processes used to generate both sonic and visual skins. The result is a theater of emergence and alchemical transformation existing within an intricate cybernetic system. The endlessly folding objects, synthetic life forms, vortices and oblique spirals defy easy anthropomorphic projection - images of crumpled paper, nerve ganglia, dendrites, organic architectures, impossible animals, seed-pods and fungi may come to mind.
2007년 12월 6일 목요일
Interactive Experience in Public Context: Tango Tangle, by Zafer Bilda, Constraints and Creativity in the Digital Arts, by Linda Candy
This paper,“Interactive experience in public context: tango tangle”, is about a pilot test of an interactive artwork named Tango Tangle. This test belongs to a lager project which aims to install a series of interactive works in Federation Square in Melbourn, Australia. By the test the evaluators observed how people get aesthetics satisfaction from an interactive Artwork. For example: how the audience construct meaning, pleasure and enjoyment from an interactive artwork.
The second one “constraints and creativity in digital arts” is about an aesthetic meaning of technique used in the digital arts. The author said that constraints are not only restrictions but also creativity of the used media. To explain which role constraints play in the art history, she starts with the atonal music of Schoenberg. She wrote that constraints in creativity are both limiting and liberating because they are inherent to the context, the genre and the medium.
I think that the first article shows us some characteristic factors of a digital art how it attract people and the second one how we have to understand the attraction of the digital arts: the characteristics of the medium and it's constraints.
In digital arts, the creative process is fundamentally the same as in any other field of creative work. Constraints in creativity are both limiting and liberating. By choosing particular forms, materials and tools for a creative work you have choosen the kinds of constraints shaped the process and its outcomes. Constraints impose fundamental limits on our ability to think, perceive and create: for example, mental blocks are less amenable to change or control by the individual concerned than those that are self-imposed.
An important characteristic of digital technology is that to use it to its full, you have to be prepared to make explicit the implicit assumptions that are in your mind as you develop the work. It is the very need for explicitness that makes it both challenging and rewarding to many artists. In order to work digitally, the constraints have to be specified in such a way as to make the computer generate an outcome that is satisfying to the artist. But, more importantly, the process of specifying the constraints in digital form can be best understood as an integral part of the creative process. The choice of whether to program or to use a software application can be critical to how much the artist has control over the character of the constraints to be specified
The second one “constraints and creativity in digital arts” is about an aesthetic meaning of technique used in the digital arts. The author said that constraints are not only restrictions but also creativity of the used media. To explain which role constraints play in the art history, she starts with the atonal music of Schoenberg. She wrote that constraints in creativity are both limiting and liberating because they are inherent to the context, the genre and the medium.
I think that the first article shows us some characteristic factors of a digital art how it attract people and the second one how we have to understand the attraction of the digital arts: the characteristics of the medium and it's constraints.
In digital arts, the creative process is fundamentally the same as in any other field of creative work. Constraints in creativity are both limiting and liberating. By choosing particular forms, materials and tools for a creative work you have choosen the kinds of constraints shaped the process and its outcomes. Constraints impose fundamental limits on our ability to think, perceive and create: for example, mental blocks are less amenable to change or control by the individual concerned than those that are self-imposed.
An important characteristic of digital technology is that to use it to its full, you have to be prepared to make explicit the implicit assumptions that are in your mind as you develop the work. It is the very need for explicitness that makes it both challenging and rewarding to many artists. In order to work digitally, the constraints have to be specified in such a way as to make the computer generate an outcome that is satisfying to the artist. But, more importantly, the process of specifying the constraints in digital form can be best understood as an integral part of the creative process. The choice of whether to program or to use a software application can be critical to how much the artist has control over the character of the constraints to be specified
2007년 10월 23일 화요일
Towards an Ontological Language for Game Analysis
In philosophy, ontology is the study of being or existence and forms the basic subject matter of metaphysics. It seeks to describe or posit the basic categories and relationships of being or existence to define entities and types of entities within its framework.
In computer science and information science, an ontology is a data model that represents a set of concepts within a domain and the relationships between those concepts. It is used to reason about the objects within that domain.
Ontology in Computer Science
In computer science, an ontology is a data model that represents a domain and is used to reason about the objects in that domain and the relations between them.
• Individuals: the basic or ‘ground level’ objects
They are all instants, which have yet no relationship between them and so there is no hierarchy of data. These all data will be put in classes according as their entities.
• Classes: sets, collections, or types of objects
Every class behaves as an independent object like as an object oriented program language. You can easily make a new class which includes the entities of the original and change it.
• Attributes: properties, features, characteristics, or parameters that objects can have and share
Under Attributes come properties, features, characteristics or parameters that object can have and share.
• Relations: ways that objects can be related to one another
This is the ways how a class can be connected with one another.
Use of the ontological language for game
• based on perceive or experience as players
Our ontology is primarily based on that which we can perceive or experience as players
• Every game will be divided in this ontological language system
An ontological language identifies the important structural elements of games and the relationships between them through organizing them hierarchically.
• An ontology is different than a game taxonomy in that, rather than organizing games by their characteristics or elements, it is the elements themselves that are organized. there is no necessity of presume to have any inside knowledge of the game designer’s ideas or intentions, how the game was implemented or even the internal functioning of a game.
I think, the system of ontological language has the same advantages which OOP (object oriented programming) has. There is already a structure that is standardized in a hierarchical form and the objects are ready to be use. This structure acts like OOP. You can create a new game efficiently and economically in use and connect the objects of the system. Through this system will be created a better gameness of a game with small efforts.
In computer science and information science, an ontology is a data model that represents a set of concepts within a domain and the relationships between those concepts. It is used to reason about the objects within that domain.
Ontology in Computer Science
In computer science, an ontology is a data model that represents a domain and is used to reason about the objects in that domain and the relations between them.
• Individuals: the basic or ‘ground level’ objects
They are all instants, which have yet no relationship between them and so there is no hierarchy of data. These all data will be put in classes according as their entities.
• Classes: sets, collections, or types of objects
Every class behaves as an independent object like as an object oriented program language. You can easily make a new class which includes the entities of the original and change it.
• Attributes: properties, features, characteristics, or parameters that objects can have and share
Under Attributes come properties, features, characteristics or parameters that object can have and share.
• Relations: ways that objects can be related to one another
This is the ways how a class can be connected with one another.
Use of the ontological language for game
• based on perceive or experience as players
Our ontology is primarily based on that which we can perceive or experience as players
• Every game will be divided in this ontological language system
An ontological language identifies the important structural elements of games and the relationships between them through organizing them hierarchically.
• An ontology is different than a game taxonomy in that, rather than organizing games by their characteristics or elements, it is the elements themselves that are organized. there is no necessity of presume to have any inside knowledge of the game designer’s ideas or intentions, how the game was implemented or even the internal functioning of a game.
I think, the system of ontological language has the same advantages which OOP (object oriented programming) has. There is already a structure that is standardized in a hierarchical form and the objects are ready to be use. This structure acts like OOP. You can create a new game efficiently and economically in use and connect the objects of the system. Through this system will be created a better gameness of a game with small efforts.
2007년 10월 15일 월요일
The topic of my final paper...,
Avartar: Subjectivity in the virtual world
1. The Role of Avartar in the mythology
2. How about the greek mythology?
3. What sort of role plays Avartar in the virtual world.
3. Which role plays subjectivity in there?
1. The Role of Avartar in the mythology
2. How about the greek mythology?
3. What sort of role plays Avartar in the virtual world.
3. Which role plays subjectivity in there?
Formulating Abstraction: Conceptual Art and the Architectural Object, by Therese Tierney
What is art? What are artworks?
This article is about the ontology of art and artworks in these days. What are artworks? What sort of entities are artworks? Are they physical objects itself or are they rather creative ideas such as concepts? In the classical art we didn’t need to separate art objects from the ideas. But during the early 20th century the normative vision of the fine art was called into question as a result of numerous advances in methods of representation, first in photography and later in Dadaist film. Furthermore the conceptual art began to make questions about the ontology of artworks and to build a concept that art is not depend on its materialization.
Formulating Abstraction
When we can accept that art is a formulated idea of an abstract representation in our mind then we can also accept that the real affection of artworks doesn’t lie on an object but on the representation. The object plays just a role of medium. This sort of philosophical sift is not only the problem for architecture but for new-media artists. They produce artworks, which can fill no traditional criterion and has just virtual form in digital world.
This ontological crisis of representation is crucial to understanding one of the forms of resistance in architecture toward new forms of media expression.
This article is about the ontology of art and artworks in these days. What are artworks? What sort of entities are artworks? Are they physical objects itself or are they rather creative ideas such as concepts? In the classical art we didn’t need to separate art objects from the ideas. But during the early 20th century the normative vision of the fine art was called into question as a result of numerous advances in methods of representation, first in photography and later in Dadaist film. Furthermore the conceptual art began to make questions about the ontology of artworks and to build a concept that art is not depend on its materialization.
Formulating Abstraction
When we can accept that art is a formulated idea of an abstract representation in our mind then we can also accept that the real affection of artworks doesn’t lie on an object but on the representation. The object plays just a role of medium. This sort of philosophical sift is not only the problem for architecture but for new-media artists. They produce artworks, which can fill no traditional criterion and has just virtual form in digital world.
This ontological crisis of representation is crucial to understanding one of the forms of resistance in architecture toward new forms of media expression.
2007년 9월 12일 수요일
Vizster: Visualizing Online Social Networks
I want to mention two themes as conclusion, the meaning of this sort of social network and the practical use of this System.
For the first theme, the meaning of the social network, we have to distinguish sharply between the two terms, the social network and the personal network. I think the social network covers the personal network and is more formal and non-individual than the other one. The personal network literally means something individual and therefore you can expect an individual and emotional help from people from it. For example, you want to be comforted by a person from the personal network not from the social network. And you can’t frankly tell your mental pain or emotional thing in your mind to someone from other Labs with whom you haven’t spoken seriously about something before. Of course you can make a new personal relationship from the social but it takes time, energy and the will.
In my opinion, in the real world is the quantity of the relationship not important but the quality. It doesn’t matter, how many people do you know or how wide your social network expands in the world. I think the quantity is the goal of the social networking such as Friendster of the visualization from it, the Vizster.
The second theme is that where can find the system the most practical use.
There are two opposing aspect on it: positive and negative.
The positive aspect, as we already have heard, is that I can easily fill my curiosity from the system. To find out private information about your friends or friends of your friends seems here as an exploratory, funny play for me. For example I can find out about yourself and with whom you're hanging around. I'm very interested in your high school community, your church friends and your company friends. My curiosity is totally filled and I'm very satisfied but what is your advantage? Perhaps you can do it what I did. You find out the information of my relationships. Ok it's not problem between us or between the people to whom I have individual relationship but this is a problem for me when a person, whom I've never met, will know my social network. I don't want to let him know, even if he will just see my data and do anything badly with it.
The negative aspect, about which I'm deeply concerned, is the false use of the private information. Someone deliberately get the information for a sale of insurances or some other merchandise.
I think this system is seriously good for profile and control of a group such as organization of a surprise parties or control criminals.
For the first theme, the meaning of the social network, we have to distinguish sharply between the two terms, the social network and the personal network. I think the social network covers the personal network and is more formal and non-individual than the other one. The personal network literally means something individual and therefore you can expect an individual and emotional help from people from it. For example, you want to be comforted by a person from the personal network not from the social network. And you can’t frankly tell your mental pain or emotional thing in your mind to someone from other Labs with whom you haven’t spoken seriously about something before. Of course you can make a new personal relationship from the social but it takes time, energy and the will.
In my opinion, in the real world is the quantity of the relationship not important but the quality. It doesn’t matter, how many people do you know or how wide your social network expands in the world. I think the quantity is the goal of the social networking such as Friendster of the visualization from it, the Vizster.
The second theme is that where can find the system the most practical use.
There are two opposing aspect on it: positive and negative.
The positive aspect, as we already have heard, is that I can easily fill my curiosity from the system. To find out private information about your friends or friends of your friends seems here as an exploratory, funny play for me. For example I can find out about yourself and with whom you're hanging around. I'm very interested in your high school community, your church friends and your company friends. My curiosity is totally filled and I'm very satisfied but what is your advantage? Perhaps you can do it what I did. You find out the information of my relationships. Ok it's not problem between us or between the people to whom I have individual relationship but this is a problem for me when a person, whom I've never met, will know my social network. I don't want to let him know, even if he will just see my data and do anything badly with it.
The negative aspect, about which I'm deeply concerned, is the false use of the private information. Someone deliberately get the information for a sale of insurances or some other merchandise.
I think this system is seriously good for profile and control of a group such as organization of a surprise parties or control criminals.
2007년 9월 4일 화요일
Games as art: the Aesthetics of play
Today, I got the first class in "advanced media aesthetics". The lecturer, Dr. Yoon introduced us the whole process and schedule. We are expected to take a paper from three categories, social computing & information visualization, experimental game & new media culture and media art & media aesthetics. The one, who will take a paper, will be the chair and has to present it's summary and lead a discussion about the theme. He have to invite three panels who can join or argue him in the discussion. And he has also the all responsibilities for the nice flow of the discussion.
Oh, my god! Bless me!
I'd love to pick the theme, "Games as Art, The Aesthetics of Play".
Oh, my god! Bless me!
I'd love to pick the theme, "Games as Art, The Aesthetics of Play".
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