Digital Art in Context Journal 2
“The past decade has seen the two powerful technologies of computing and telecommunications converge into one field of operations that has drawn into its embrace other electronic media.” said Roy Ascott. Examples of joining electronic media include those of video, computation, artificial intelligence, and telematics. In the form of digital media, replication and imitation is so easily and perfectly performed that our identities and times are dismantled and reformed. Moreover, artificial intelligence and computation is attempting to go beyond humans, even creating art, forcing us to rethink the conception of art and the relationship of art and creator.
The organization and characteristics of video is changing when it comes together with new technology. When joined with software techniques, which can be dealt with using databases and algorithms, it becomes as a software cinema. This attempt is “Soft(ware) cinema” which is a project directed by Lev Manovich. As algorithmic cinema, macro cinema, multimedia cinema, and database cinema, as known as the software cinema are breaking the rules of cinema, which had been perceived as a scene in a single frame and in a single time line. In cinemas or in comics, focusing on one frame at a time and making several frames connected into a single time line was the standard to send a single storyline. But through the representational techniques in soft cinema, it is deploying the new dimensions of our time. Giving several shots in one scene and giving possibilities of multiple stories, soft cinema can be appreciated as a poem within multimedia.
The rule of the viewer is challenged nowadays, when videos are supported with interactive technologies. The precondition of a video dialogue is that it does not talk back, as well as producing is active and viewing is passive. But the radical shifts in communication technologies have challenged this assumption. For example, in You-tube, the consumers are not only acting as viewers but also as producers. People react actively by remaking the contents of others and commenting on the video. You-tube is a personal broadcasting system as well as a multi-media storage and a community. Lynn Hershmen’s video “Lorna”, is a first interactive video art installation, and is an attempt to break the rules of passiveness of the viewer and to explore ideas of contact and perception, not only metaphorically, but through the process of playing. The passive viewers that only receive the information are changing into active selectors because the interactive systems require the viewers to react and choose.
The traditional techniques of cinemas and animations, which had been abandoned for a while, are reemerging in the computer age within a new context and a new function. Looping is used as a new narrative engine in ‘Akvaario’ and ‘Flora Petrinsularis’. Looping had been previously used in nineteenth century moving image presentations, twentieth century animation, and the avant-garde tradition of graphic cinema but now in a database narrative, a looping is generating a narrative, bridging the story with the viewer’s interaction.
Invented graphic techniques of cinemas and animations are raising issues on our visual cultures. Digital computation applied to the graphic technologies on digital images are giving breathe to the images as to look real even without the origin. Jean Baudrillard refers this with the term ‘hyper-real’, which the virtual image without origin gains reality much more than the real object. The Moving image museum is revealing the fakeness of the reality created through these fictions by presenting both the movies as well as the technologies to make the effect of the hyper-real. Today, it seems useless to argue the reality of the image.
The loss of originality on digital video encourages artists to think critically towards our culture in terms of identity and originality. Personal identity is recognized to be a tenuous territory within video, where information is presented beyond individual control and viewers are separated from the referent. Lynn Hershmen said on her writing that viewing images creates a distance from the original event because mass media redesign information by replacing the vantage point of the viewer with the frame provided by the cameraperson or the journalist photographer.
Jennifer and Kevin McKoy are attempting to erase the personal identity and reinvent the identity of the public. In their video projects, the identity of the original person vanishes but the identity of the character in the video is emphasized. In the video “Princess Painting” the actors are falsely acting as an artist and presenting the artwork as if it were their own work. Detached from the real situation where the artist really paints it, the viewers have no choice but to believe the actors-in the first few seconds. Another video, “I’ll replace you” is an attempt to break the time line of the individual lives and reform it into one time line of a collective. These two projects make me question the originality and personal identity of modern humans. It seems to me that everyone is sharing the same life style, so that there will be no difference if someone else replaces the other.
However, the augmented reality technology is inviting people into the virtual world without losing their identities. Adding the virtual object on the real space and object, we can keep the distinction between reality and the virtuality. But if the virtual world gives any impact on our mind, can it be perceived as existing in real world? Char Davies is a pioneer artist who experimented with users to ‘immerse’ them into the virtual world. Connecting our real vision, sound and senses with the navigation system in the virtual world, we feel as rebirthing and gaining new identities in the virtual world. The future form of the augmented reality interface would be invisible and flexible, which we almost don’t feel whether it is real or virtual.
If the virtual world can be called our second nature, then the codes and data within computers could be called the elements and laws in that second nature. If the Renaissance artists were as well scientists who tried to find out the structures of the world and depict them in paintings, now code artists whom are programmers as well try to figure out the beautiful structure of software and generate art by them. Indeed, computation technology has encouraged the artists to utilize computers to create a new form of art with codes and data. Data visualization is a collaboration of art and computer science. Analyzing, and reinterpreting the data, known as the data visualization are appreciated on its artistic beauty as well as its intellectual virtue.
But if the data visualization was geared and produced merely on scientific data, not artistic inspiration, then can we still call that art? For me, Donna cox’s tornado visualization was the trickiest to call art. In my opinion if it has a point of view of the artist about the data, then it can be called art. But if the purpose of the work was just on scientific description, then it cannot be perceived as art. Art should be what it is for sake of art, and itself should be the purpose. For this case of tornado visualization, I think it is art because it still has its value to appreciate the beauty of movement and awe towards nature, even without the scientific information.
The examples of the conjunction between computation and art encourage me to imagine the computer with artificial intelligence to create art in the near future. Roman Verosotco’s drawings make me imagine a future artist as a robot. Moving the same way humans do when they paint, and making almost the same irregular brushstroke which would possibly drawn by humans, the drawings made me erase the border between the art by human and by machines. My imagination went further when I visited the “Pulse Park”, which was an installation by Rafael Lozano Hemmer. While looking at the lights flickering according to the human pulse, I came to dream of the data giving birth to a living creature.
Through the code art, I could find possibilities of the code becoming the artist itself. Code artists create software ‘code’ to generate a visual output. In the artport of Whitney, I could see several computer-generated versions of Sol Lewitt’s artworks. Created by Casey Reas and other artist, they were reinterpreting Sol Lewitt’s structure and creating software to implement and extend his drawings. Even though they interpreted the same structure, the visual output was variable according to the creator. This was an art of discovering the minimal formula, which can generate and evolve into a complicated completion.
Right now the artists are creating the code, but in a near future, it would be possible that the codes generated their own code. This imagination raised the question of whether the code could be perceived as the artist. Code artists Golan Levin said in his essay that software is a living record of thought and executes the will as a single coextensive unit of thought and purpose. I came to the answer that if the code has its own thoughts and purpose like the artists, then it can be called as an artist.
But how would I estimate whether code has its own thoughts as a human? Alan Turing gives criterion on how to test digital computers as human. It was the imitation game, which computers would have to answer the questions by human. The premise was that if the computers make human during conversation think that they are speaking with humans, then the computers would be able to perceived as human.
We had a chance to talk in class with cyber intelligence such as Eliza and Ruby. Eliza was developed by Joseph Weisen Baum on purpose of therapy. It was repeating questions, not performing actual conversation. The one closer to artificial intelligence was Agent Ruby in Whitney artport, which was developed by Lim Heshmen. But these two were far from artificial intelligence. They were using memory of specific words and reacting from those, so it did not make us think of actual conversation.
Even though not successful yet, it is not so far. According to Alan Turing, a better way is to make the artificial intelligence to simulate and learn human intelligence. Instead of making the intelligence as an adult brain, making it as a baby whom with a learning brain would be better. Also, instead of making it perfect, we should make them learn human mistakes. When I saw the drawings done by Jared Schiffman, as the “Turing machine visualization” (2000) the data nodes were illustrated as organic characteristics other than the rigid construct of computational processing. It was interesting that the edge of technology is going back to the past, with a world of unpredictable randomness.
If the artificial intelligence gains thoughts as human in the future, we should find a way to connect human beings with artificial intelligences. Telematics is a broad term used to designate computer-mediated communications and also involves the technology of the interaction between human and artificial intelligence. Roy ascot is questioning in his essay. “Is there love in the telematic embrace?” In the artwork “Network touch” by Galen Scorer, people can touch each other virtually through the camera. In this bio-electric and haptic interface, people can feel love at the moment they interact with among each other. In telematics art, the meaning of the artwork is created not by the artist but by the observer and their interaction.
Within the computation and telematics technology, our art culture and the medium of art has changed on its forms and characteristics. Art is getting inspiration by the technology and forced to critically think and reshape of the past medium and the culture. Furthermore, the collaborated art and science is encouraging to create a new form of art. The development of technology of artificial intelligence and its possible convergence with art makes me dream of the future when computers would be creating art and people interacting with them but feeling the physical and haptical effect even from far away.
Wednesday, December 17, 2008
Saturday, November 15, 2008
Sunday, November 9, 2008
electronic social club
I am presenting my work at the [ ESC ] salon + mixer* .
Friday November 14 | 7-10 pm
Hunter College | 695 Avenue
Room HN 543 | Black Box
*free and open to the public*
e. electronicsocialclub@gmail.com
www. electronicsocialclub.org
An event by EYEspeak and the students of Hunter College Integrated Media Arts MFA.
directions:
6 train to 68th street or F train to 63rd Street
enter on 69th street between Park + Lexington
take the elevator or stairs to the 5th floor
Friday November 14 | 7-10 pm
Hunter College | 695 Avenue
Room HN 543 | Black Box
*free and open to the public*
e. electronicsocialclub@gmail.com
www. electronicsocialclub.org
An event by EYEspeak and the students of Hunter College Integrated Media Arts MFA.
directions:
6 train to 68th street or F train to 63rd Street
enter on 69th street between Park + Lexington
take the elevator or stairs to the 5th floor
Monday, October 20, 2008
cute processing references
image from Nokia friends, generative characters
this one is really cute. "Nokia friends, generative characters"
http://postspectacular.com/process/20080810_nokiafriends
Here u can find several commercial applications of processing.
http://code.google.com/p/toxiclibs/
http://postspectacular.com/
-----------------------
Applying physics in processing without any physical knowledge is not easy.
Here u can download physics library.
http://www.cs.princeton.edu/%7Etraer/physics/
Monday, October 13, 2008
Journal
Digital art in context, 1st Journal
Arts, changes within technological development
Technology has progressively changed our lives. It is not only the culture and art, but also our mind and perspective that changes with technological development. The theme and form of art has changed to handle the changes in our environments and lives. The attitude of the artist and the spectator is changing also. A new criterion of art is being established. Within Marcel Duchamp’s article “The Creative act”, I was able to think about how the perception towards art and the roll of artists have changed these days.
Today, art seems to have no specific standard to follow or obey. Marcel Duchamp has showed that everything can be called art, even a product like a toilet stool. Even a massively produced item by a factory can become a unique artwork. Now the artists do not have to be pure creators, but planners or producers. Anything can be art if the artist finds and reveals its virtue. Even though there is a difference in the qualities of art, I consider every form valuable for appreciation and interpretation. It is because art, compared to a product or machine, contains the artist’s point of view and critical message. For me, art is another language. Throughout the class activities and readings, I focused on how the technical development has changed and enhanced the role of art, especially on a communicative role.
I think that there are two important axes of technical development and innovation which became a massive influence on art. The first is the development of the camera and image reproduction technology, and the second is the invention of computers and image processing tools. While reading the book “Ways of Seeing” by John Berger, I realized how the camera and image reproduction technology have changed our culture of imagery. Until the 17th century, images could only be produced once at a time, by means of painting. That procedure made the image expensive and respected, controlled only by the wealthy people. Compared to the age before the invention of camera, it is hard to discern uniqueness or originality within photographically reproduced images. For example, the same image of Venus can be found, not only in the Museum, but also in underwear advertisements. Our attitude towards these images depends on the context and placement of the images.
Our culture is now affluent with several different images. We can find consumable images like pornography or cartoons in magazines, and we can find persuasive images in advertisements or posters. But one thing has not changed. Every image contains a perspective. I became interested in the usage of photography in the media, which is often used as evidence. While reading “Ways of Seeing”, I understood that photographic images are collections from a real scene, so that it cannot truly show the objective world. But I think photography in news media is powerfully persuasive, along with the power of text. It is important to be aware of the photographic subjectivity so that one does not become a passive receiver.
I could think about the role of photography at the exhibition “Party Headquarters: Voting is just the beginning” held at the Pratt Manhattan Gallery. Images were collaged, taken out of their context by direction of the artist. The artworks criticized the tendency of the media to subjectively represent the news. On television, everything is transformed by a discerning editor’s view. Now the artists is confronting those massively produced image with a critical approach. The image is not anymore to be seen as reality, but with criticism, because it is obvious that it is transformed by someone’s intention. Image is now used as a persuasive language, not an objective language as we have thought at the beginning of the development of photography.
The exhibition “Politics As Usual” by R. Luke Dubois held in the Bitforms Gallery was impressive for me, because I realized that text could be an objective and persuasive way to express the artist’s subjective view. Text could stay neutral. But displayed inside a gallery within the whole frame, it is shown in a different context from the news media, which requires the interpretation of an audience. The audience could read the artist’s intention within the text.
Whereas the camera and image production technology have been the most innovative convention in our ways of seeing since the 17th century, it is the computer and the image processing tools that have shaped the 21st century. Computers are substituting the functions of the real world and human beings in art. The exhibition “Cybernetic Serendipity” held in 1968 is acknowledged as an important milestone in recognizing the computer as a new medium in the art world.
Computers helped to extend man’s creativity and inventiveness in the production of art. As the visitor of the exhibition, Paul Brown has said, “The artworks are now perceived as progressive processes, not just stable objects.” Computers have changed the role of the spectators too. Within interactive art, the audiences are asked to appreciate actively. Sometimes, the artworks cannot be perceived completely without the participation of the audiences. The museum rule “do not touch” has changed to “touch and feel”. In my opinion, technology has enhanced the possibility of interactive communication within the artwork.
The artist Perry Bard owes a lot to technology for her creativity. Her project, “Man with a camera” was possible, by the internet service. It is a project that deconstructs the role of the producer and spectator. Within the project, all of the participating people are active producers. Because Perry Bard created only the structure of the project, I consider her as a creative manager. It does not matter whether she created the whole videos or not, when valuing her project. Her creativity on making up a new structure is enough for me to appreciate her as an artist. I can see how the project induces communication through several different cultures. Especially interesting was that I came to see the life of the people on the other side of the world. I could see how people conceive the same theme differently and how it is reproduced among different cultures.
Throughout the history of digital arts, I found that people take gradual steps when adjusting to a new technical development. First, they admire the innovative structure with awe. Then they find new issues that can be handled within the new structure. Gradually people become accustomed to that structure, and that tends to play an important role in forming and constraining the minds of the people. Critical artists realize that they should extend their minds beyond the structure. When that critical element appears as an issue to the technical developers and the society, they make a change within creating another innovation. The difference between computers and human is that computers only know how to follow the rules and sum up the totals, whereas human beings tend to break the rules and analyze the figure. It is only humans, who can remain critical towards the world and deliver into new issues in society.
The digital image and computation were first invented in a hieratical environment to communicate a purpose of command during arms use. Gradually it has been coordinative with the spectator. It is obvious that art has enhanced its method to communicate with the aid of technological development. I hope digital media will play its role in improving communication. To do so, digital art must be produced actively, and that is the reason we study and make our own dreams in digital arts.
Arts, changes within technological development
Technology has progressively changed our lives. It is not only the culture and art, but also our mind and perspective that changes with technological development. The theme and form of art has changed to handle the changes in our environments and lives. The attitude of the artist and the spectator is changing also. A new criterion of art is being established. Within Marcel Duchamp’s article “The Creative act”, I was able to think about how the perception towards art and the roll of artists have changed these days.
Today, art seems to have no specific standard to follow or obey. Marcel Duchamp has showed that everything can be called art, even a product like a toilet stool. Even a massively produced item by a factory can become a unique artwork. Now the artists do not have to be pure creators, but planners or producers. Anything can be art if the artist finds and reveals its virtue. Even though there is a difference in the qualities of art, I consider every form valuable for appreciation and interpretation. It is because art, compared to a product or machine, contains the artist’s point of view and critical message. For me, art is another language. Throughout the class activities and readings, I focused on how the technical development has changed and enhanced the role of art, especially on a communicative role.
I think that there are two important axes of technical development and innovation which became a massive influence on art. The first is the development of the camera and image reproduction technology, and the second is the invention of computers and image processing tools. While reading the book “Ways of Seeing” by John Berger, I realized how the camera and image reproduction technology have changed our culture of imagery. Until the 17th century, images could only be produced once at a time, by means of painting. That procedure made the image expensive and respected, controlled only by the wealthy people. Compared to the age before the invention of camera, it is hard to discern uniqueness or originality within photographically reproduced images. For example, the same image of Venus can be found, not only in the Museum, but also in underwear advertisements. Our attitude towards these images depends on the context and placement of the images.
Our culture is now affluent with several different images. We can find consumable images like pornography or cartoons in magazines, and we can find persuasive images in advertisements or posters. But one thing has not changed. Every image contains a perspective. I became interested in the usage of photography in the media, which is often used as evidence. While reading “Ways of Seeing”, I understood that photographic images are collections from a real scene, so that it cannot truly show the objective world. But I think photography in news media is powerfully persuasive, along with the power of text. It is important to be aware of the photographic subjectivity so that one does not become a passive receiver.
I could think about the role of photography at the exhibition “Party Headquarters: Voting is just the beginning” held at the Pratt Manhattan Gallery. Images were collaged, taken out of their context by direction of the artist. The artworks criticized the tendency of the media to subjectively represent the news. On television, everything is transformed by a discerning editor’s view. Now the artists is confronting those massively produced image with a critical approach. The image is not anymore to be seen as reality, but with criticism, because it is obvious that it is transformed by someone’s intention. Image is now used as a persuasive language, not an objective language as we have thought at the beginning of the development of photography.
The exhibition “Politics As Usual” by R. Luke Dubois held in the Bitforms Gallery was impressive for me, because I realized that text could be an objective and persuasive way to express the artist’s subjective view. Text could stay neutral. But displayed inside a gallery within the whole frame, it is shown in a different context from the news media, which requires the interpretation of an audience. The audience could read the artist’s intention within the text.
Whereas the camera and image production technology have been the most innovative convention in our ways of seeing since the 17th century, it is the computer and the image processing tools that have shaped the 21st century. Computers are substituting the functions of the real world and human beings in art. The exhibition “Cybernetic Serendipity” held in 1968 is acknowledged as an important milestone in recognizing the computer as a new medium in the art world.
Computers helped to extend man’s creativity and inventiveness in the production of art. As the visitor of the exhibition, Paul Brown has said, “The artworks are now perceived as progressive processes, not just stable objects.” Computers have changed the role of the spectators too. Within interactive art, the audiences are asked to appreciate actively. Sometimes, the artworks cannot be perceived completely without the participation of the audiences. The museum rule “do not touch” has changed to “touch and feel”. In my opinion, technology has enhanced the possibility of interactive communication within the artwork.
The artist Perry Bard owes a lot to technology for her creativity. Her project, “Man with a camera” was possible, by the internet service. It is a project that deconstructs the role of the producer and spectator. Within the project, all of the participating people are active producers. Because Perry Bard created only the structure of the project, I consider her as a creative manager. It does not matter whether she created the whole videos or not, when valuing her project. Her creativity on making up a new structure is enough for me to appreciate her as an artist. I can see how the project induces communication through several different cultures. Especially interesting was that I came to see the life of the people on the other side of the world. I could see how people conceive the same theme differently and how it is reproduced among different cultures.
Throughout the history of digital arts, I found that people take gradual steps when adjusting to a new technical development. First, they admire the innovative structure with awe. Then they find new issues that can be handled within the new structure. Gradually people become accustomed to that structure, and that tends to play an important role in forming and constraining the minds of the people. Critical artists realize that they should extend their minds beyond the structure. When that critical element appears as an issue to the technical developers and the society, they make a change within creating another innovation. The difference between computers and human is that computers only know how to follow the rules and sum up the totals, whereas human beings tend to break the rules and analyze the figure. It is only humans, who can remain critical towards the world and deliver into new issues in society.
The digital image and computation were first invented in a hieratical environment to communicate a purpose of command during arms use. Gradually it has been coordinative with the spectator. It is obvious that art has enhanced its method to communicate with the aid of technological development. I hope digital media will play its role in improving communication. To do so, digital art must be produced actively, and that is the reason we study and make our own dreams in digital arts.
Friday, October 10, 2008
Drawings by Processing
Gallery of Computation
by Tared Tarbell
http://complexification.net/
I believe processing is a tool to create almost everything~!
Following the links below, you can see many drawings done by processing~
Next time I will post many interactive works done by processing.
Links scrapped from Processing Korean Forum, http://processing.or.kr
Arkitus ,by Ali Eslami
http://arkitus.com
Metaphorical, by William Ngan
http://metaphorical.net/
Flight 404 _ All manner of distraction
http://flight404.com/blog/
Flight 404 V8
http://flight404.com/version8/
Beyond Three
http://proce55ing.beyondthree.com/
http://beyondthree.com/
Hardcore Pawn
http://www.hardcorepawn.com
Sebastian Chevrel
http://www.seb.cc/
Gallery of Computation
http://complexification.net/
Toxi
http://www.toxi.co.uk/p5/
Software structures
http://artport.whitney.org/commissions/softwarestructures/map.html
Japanese
http://www.harukit.com/
Study physics
http://local.wasp.uwa.edu.au/~pbourke/geometry/
Desk Top Is
Desktop Is by Alexei Shulgin
October 20 1997 - April 20 1998
http://www.easylife.org/desktop/
The artist Alexei Shulgin asked the netizens to submit screenshot of their computer dektops, which he reposted on his website. He recieved sixty odd desktops over the couse of the six months during which he ran the project. By revealing the secret life of desktops, Shulgin connects identity and performance.
desktop is the main element of a human - machine interface
desktop is your window to the digital world
desktop is your first step into virtual reality
desktop is a reflection of your individuality
desktop is your everyday visual environment
desktop is an extension of your organs
desktop is the face of your computer
desktop is your everyday torture and joy
desktop is your own little masterpiece
desktop is your castle
desktop is a seducer
desktop is a reliever
desktop is your enemy
desktop is your friend
desktop is a psychoanalyst
desktop is your little helper
desktop is your link to other people
desktop is a device for meditation
desktop is the membrane that mediates transactions between client and server
desktop is a substitute for so many other things
desktop is a question
desktop is the answer
-From the project website-
Data Driven Art
Jason Salavon _ American Varietal
2008Digital C-print27" x 77". Ed. 7 + 2 APs.
If you claim a debate on whether just a visualization of data is art or not, I cannot clearly say that it is art. But if it is beautiful to me, I consider them as art! Follow the links to get more information.
Articles & Comments
http://geekvertising.blogspot.com/2008/04/but-it-is-data-driven-art-my-top.html
http://flowingdata.com/2008/03/19/21-ways-to-visualize-and-explore-your-email-inbox/
http://www.wired.com/special_multimedia/2008/ff_dataart_1603
http://flowingdata.com/2008/03/12/a-world-of-information-in-data-driven-art-not-your-grandmas-dashboard/
http://www.generatorx.no/tag/data
http://infosthetics.com/
Individual Artist & Designer & Project Website
Visualizing and communicating Feelings, Emotions
http://iwantyoutowantme.org/
http://artport.whitney.org/commissions/thedumpster/dumpster.shtml
http://www.wefeelfine.org/
http://www.solaas.com.ar/dreamlines/
Visualizing and regenerating the mails
http://www.texone.org/
http://www.spamrecycling.com/
http://www.kingcosmonaut.de/spampaint/
http://www.sq.ro/index.php
http://carohorn.de/anymails/
http://www.buddygraph.com/
Artist and artworks of visualizations of data
http://www.salavon.com
http://burak-arikan.com/
http://alumni.media.mit.edu/~fviegas/projects/themail/study/index.htm
Martin Wattenberg (Bewitched.com. babynamewizard.com) / Boris Buller (visual poetry) / Bradford Paley/Spencer Fitch / Jonathan Harris / thenumber27.org (tenbyten.org) / turbulence.org(shape of song) / Fernandaviegas.com(Flesh map) / etc
lab/office/freelancers/ of visualizations of data
http://www.research.ibm.com/visual/
http://bestiario.org/
http://www.wk.com/?#/
http://vis.berkeley.edu/
http://well-formed-data.net/
http://danielmclaren.net/
Sunday, September 28, 2008
Friday, September 26, 2008
Exhibition Review_Democracy in America
The exhibition “Democracy in America”, curated by Nato Thompson, presented over forty different tactical art projects, expressing their opinion towards democracy in America. Not too serious, nor too frivolous, the exhibition as a whole maintained tension between wit and sarcasm. The artworks mostly focused on the conflict and distortion that appears when the ideal vision comes is is executed in reality and is distributed to the public.
Throughout the whole show was served a new opinion, which had rarely been focused on as an issue in the press. Several artworks were on the side of the minorities, such as women or homosexuals, voicing opposition toward in the hypocrisy of government. Several others claimed facts are distorted or neglected in distribution to the public through televised photographic and written media. Several other pieces showed the discrepancy of authority to the public. While appreciating the exhibition, my interest was focused on the gap between the ideal strategy and the real execution. My interest was also focused on the underlying facts and their distortion in the media.
Comparing and analyzing the two selected artworks; Jon Kessier’s work “The time was now” (2008, mixed media) and Carlos Motta’s “The good life” (2005-2008, 12 channel video installation); would well exemplify the discrepancy between democracy as propaganda and the media as press. Both artworks utilize video as an essential media, but the way it is used is quite different. It can be compared to the two different ways to record and shoot the circumstance and convert it as news. Kessier’s way is similar to the reporter, in that he goes to the actual site at the time of the event and record it through camera and distribute it. Carlos Motta’s way is similar to the moderator or investigator. He interviews people inside circumstances of their opinion and thoughts and distributed them after analyzing their results.
The difference of the two methods grows larger in terms of factuality. Whereas Jon Kessier’s work flatters and distorts the fact through video, Motta’s work stays honest with the medium of video. While Jon Kessier’s work is in real timed like daily news, Motta’s work is in past timed like a documentary.
Jon Kessier’ made a miniature and installed it with video cameras and shown on the TV at the same time. Every miniature dealt with force and menace, somewhat like a troupe or a violator. The miniature and the camera kept moving in the same routine.
Jon Kessier displays sarcasm towards the medium of video in news, implying the inevitable hypocrisy of subjective reporting. As a miniature, Jon’s work enables us to see how our real lives are taken in through the camera. Through the camera, a specific part would be in focus or magnified, and another part would not be shown at all. The viewer would get only limited information. Through the camera the subject is usually settled in focus, so that the viewer is attention is controlled and directed. Not only that, but the camera angles are different, so that the viewer is confused about the fact. Even though the artwork is distorting the fact in physical ways, it works as a metaphor by showing how a fact can be distorted in reporting.
Carlos Motta’s work interviews with citizens of South American countries such as Brazil, Argentina, Columbia, Venezuela, and so on, can be considered a fare good democratic way of conveying facts and opinions. The interview was about their ideal democracy and its practical execution. Displayed in the gallery as multi channel video, the viewer receives balanced information of the circumstances. Several pieces of video were shown together, both the people being interviewed and also of the interviewing space and environment of that country.
Carlos Motta is sarcastic. The interview wholly showed the discrepancy of the ideal and the actual unreality of the system. But the video shown revealed a good life, by high rising statues, flags blowing in the wind, and a dog peacefully napping at a park. Through the title of his work “ A Good Life”, he is flattering the democracy of the country.
Another difference of the two works is the relationship between the video and the viewer appears by the way in which they are displayed. Both were multichannel video, but Jon Kessier’s work was gathered in one row, so that the viewer could moderate all at once, whereas Carlos Motta’s work was displayed in several different angles on a chair, so that the viewer could only watch one video at a time. The way Jon Kessier’s video conveyed its message was a good way to show the authority and hypocrisy of broadcasting systems, whereas Carlos Motta’s way was to be a friendly communication channel towards the public. The way the installation induced people to sit down at the chair and watch the videos, was similar to having a conversation at an agora.
Through these artworks, I came to conclude that maybe democracy is just an ideal, which cannot be achieved only through governmental execution but must be pursued by citizens and the leaders. Also I came to the conclusion that video, as a medium, can be both objective and deceptive. On pursuit of democracy, which is the main subject of the exhibition, many of the artworks required participation of the audiences, giving them chances to make their opinions to public, and making the whole exhibition more lively and active as something like a festival. My expectation goes further that video, as being a communication channel of the minorities, would help the execution of democracy.
Referenced websites
http://zine.artcal.net/2008/09/democracy-in-america-at-the-pa.php
http://www.armoryonpark.org/
http://www.carlosmotta.com/
http://www.la-buena-vida.info/about/index.shtml
http://www.jonkessler.com/
Throughout the whole show was served a new opinion, which had rarely been focused on as an issue in the press. Several artworks were on the side of the minorities, such as women or homosexuals, voicing opposition toward in the hypocrisy of government. Several others claimed facts are distorted or neglected in distribution to the public through televised photographic and written media. Several other pieces showed the discrepancy of authority to the public. While appreciating the exhibition, my interest was focused on the gap between the ideal strategy and the real execution. My interest was also focused on the underlying facts and their distortion in the media.
Comparing and analyzing the two selected artworks; Jon Kessier’s work “The time was now” (2008, mixed media) and Carlos Motta’s “The good life” (2005-2008, 12 channel video installation); would well exemplify the discrepancy between democracy as propaganda and the media as press. Both artworks utilize video as an essential media, but the way it is used is quite different. It can be compared to the two different ways to record and shoot the circumstance and convert it as news. Kessier’s way is similar to the reporter, in that he goes to the actual site at the time of the event and record it through camera and distribute it. Carlos Motta’s way is similar to the moderator or investigator. He interviews people inside circumstances of their opinion and thoughts and distributed them after analyzing their results.
The difference of the two methods grows larger in terms of factuality. Whereas Jon Kessier’s work flatters and distorts the fact through video, Motta’s work stays honest with the medium of video. While Jon Kessier’s work is in real timed like daily news, Motta’s work is in past timed like a documentary.
Jon Kessier’ made a miniature and installed it with video cameras and shown on the TV at the same time. Every miniature dealt with force and menace, somewhat like a troupe or a violator. The miniature and the camera kept moving in the same routine.
Jon Kessier displays sarcasm towards the medium of video in news, implying the inevitable hypocrisy of subjective reporting. As a miniature, Jon’s work enables us to see how our real lives are taken in through the camera. Through the camera, a specific part would be in focus or magnified, and another part would not be shown at all. The viewer would get only limited information. Through the camera the subject is usually settled in focus, so that the viewer is attention is controlled and directed. Not only that, but the camera angles are different, so that the viewer is confused about the fact. Even though the artwork is distorting the fact in physical ways, it works as a metaphor by showing how a fact can be distorted in reporting.
Carlos Motta’s work interviews with citizens of South American countries such as Brazil, Argentina, Columbia, Venezuela, and so on, can be considered a fare good democratic way of conveying facts and opinions. The interview was about their ideal democracy and its practical execution. Displayed in the gallery as multi channel video, the viewer receives balanced information of the circumstances. Several pieces of video were shown together, both the people being interviewed and also of the interviewing space and environment of that country.
Carlos Motta is sarcastic. The interview wholly showed the discrepancy of the ideal and the actual unreality of the system. But the video shown revealed a good life, by high rising statues, flags blowing in the wind, and a dog peacefully napping at a park. Through the title of his work “ A Good Life”, he is flattering the democracy of the country.
Another difference of the two works is the relationship between the video and the viewer appears by the way in which they are displayed. Both were multichannel video, but Jon Kessier’s work was gathered in one row, so that the viewer could moderate all at once, whereas Carlos Motta’s work was displayed in several different angles on a chair, so that the viewer could only watch one video at a time. The way Jon Kessier’s video conveyed its message was a good way to show the authority and hypocrisy of broadcasting systems, whereas Carlos Motta’s way was to be a friendly communication channel towards the public. The way the installation induced people to sit down at the chair and watch the videos, was similar to having a conversation at an agora.
Through these artworks, I came to conclude that maybe democracy is just an ideal, which cannot be achieved only through governmental execution but must be pursued by citizens and the leaders. Also I came to the conclusion that video, as a medium, can be both objective and deceptive. On pursuit of democracy, which is the main subject of the exhibition, many of the artworks required participation of the audiences, giving them chances to make their opinions to public, and making the whole exhibition more lively and active as something like a festival. My expectation goes further that video, as being a communication channel of the minorities, would help the execution of democracy.
Referenced websites
http://zine.artcal.net/2008/09/democracy-in-america-at-the-pa.php
http://www.armoryonpark.org/
http://www.carlosmotta.com/
http://www.la-buena-vida.info/about/index.shtml
http://www.jonkessler.com/
ARC Game
대체 현실 게임 (Alternate Reality Game)의 브랜드 마케팅 적용 사례
들어가며
온라인 매체환경은 브랜드 마케팅의 방식에도 변화를 주었다. 기존에는 브랜드 노출 중심의 마케팅 커뮤니케이션이었던 것이 최근에는 소비자의 인터랙티브한 반응을 담을 수 있는 브랜드 체험 중심의 이야기를 담고 있는 스토리텔링 마케팅 방식으로 전환되어 활발하게 진행되고 있다. 그러한 브랜드 스토리 마케팅의 하나의 예로써 오늘날의 게임 세대에게 맞춘 스토리텔링 방식으로써 대체현실게임(Alternate Reality Game; ARG)이 새롭게 등장하여 활발히 사용되고 있다. 큰 홍보 효과를 얻을 수 있도록 해 준, ARG게임이라는 형식이 지니고 있는 통합 입소문(바이럴) 마케팅적 요소와 마케팅적 목적의 ARG게임의 발전 현황을 대표적인 사례를 중심으로 살펴보자.
대체현실게임(Alternate Reality Game; ARG)이란 가상의 사건이 현실에서 있어났다는 가정 하에 네티즌들이 사건을 해결하는 게임을 말한다. 이 새로운 장르의 게임은 게임 세계와 현실을 교차시키며 참여자들에게 이야기 식 상호작용 경험을 전달하기 위해 현실 세계의 다양한 미디어를 활용한다. 이 형식의 게임은 최근에는 순수하게 독립적으로 운용되기도 하지만 처음 시작은 브랜드의 제품 출시 이전에 소비자들의 관심을 끌어 홍보하기 위한 입소문 마케팅의 일환이었다. 즉, 소비자의 적극적인 인터랙션을 활용하여 게임이라는 컨텐츠가 원래 홍보하려는 브랜드와 통합될 수 있도록 기획되었던 것이다. 그것을 가능하게 한 데에는 그리고 그 성공 여부는 형식과 내용의 영향을 받는다. 먼저, ARG 게임의 전형적인 형식과 그것의 통합 입소문 마케팅적 요소를 살펴보고 난 후, 구체적인 사례를 통해 드러나는 내용의 타당성과 성패 여부를 따져볼 수 있을 것이다.
본문 1.
ARG 게임은 대부분 비슷한 형식을 가지고 있다. 처음에는 단서가 될 만한 일부 시나리오와 미션을 사용자에게 제공해 준다. 그 단서들을 다양한 채널을 통해 노출시킴으로써 참여자들은 타인과의 협력을 통해 정보를 수집하고 분석하여야지만 실마리를 풀어나갈 수가 있게 된다. 단서를 찾는 과정에서 상호작용 하면서 다양한 미디어를 동원하게 되며 자연스럽게 온라인 오프라인의 경계를 희석시키기 위해서 웹사이트, 이메일, 전화(유선전화, 공중전화, 모바일 등), 광고(인쇄, 전파 등), 이벤트 등 다양한 미디어를 커뮤니케이션의 수단으로 활용하도록 기획된다. 온라인 위주로 시작되지만, 진행되면서 모든 개인경험네트워크 속으로 침투해가기 위해 라이브 이벤트나 플레이에게 직접 전화를 거는 식의 직접적 체험을 높이는 방향으로 진행된다. 이러한 ARG게임의 입소문 마케팅적 적용 요소는 스토리 통합적 측면, 사용자 협동적 측면, 크로스 미디어적 측면, 사용자의 상호작용과 지속적 참여를 이끌어내는 측면에서 찾아볼 수 있다.
개연성 부족한 캠페인을 스토리로 통합한다는 점이 ARG 캠페인의 첫 번째 특징이 다. 캠페인의 각 요소들 간에 연결성을 확보할 수 있는 등장인물과 서술적 이야기를 부여해 줌으로써 소비자들이 서술적 경험으로 누군가에게 이야기를 할 수 있게 도와주는 것이다. 목적을 공유하고 협력하는 커뮤니티를 만들어 입소문 마케팅의 제반을 마련한다는 점이 ARG게임의 두 번째 특징이다. 혼자서는 해결할 수 없도록 설계된 단서들을 풀기 위해서 퍼즐 맞추기 식으로 다른 플레이들이 얻어낸 단서들과 조합하고 분석할 공간이 필요하게 되며, 자연스럽게 포럼/게시판/카페를 만들어 커뮤니티를 구성하고 활동하게 되는 것이다. ARG게임의 세 번째 특징은 가상의 스토리와 현실의 일체화를 이루는 현실 파괴적 크로스미디어 믹스(MIX)의 흥분감이 현실 속에서 다른 소비자들과의 대화를 유도하게 된다는 점이다. 광고나 웹사이트에 노출된 캐릭터들의 이메일이나 전화번호 또는 주소들 모두 실제로 존재하고 또한 캐릭터들과 접촉의 기회도 있게 되는 것이다. 네 번째 특징은 상호 커뮤니케이션과 지속적인 방문과 참여이다.
본문 2.
이러한 형식을 지니고 있는 ARG게임의 마케팅적 활용의 구체적인 사례를 중심으로 그 내용의 타당성과 성패 여부를 살펴보자.
2-1. The beast
http://42entertainment.com/beast.html
최초의 ARG는 영화 Warner Brothers 가 Steven Spielberg’s 의 영화 AI: Artificial Intelligence를 홍보하기 위해 개발해 큰 성공을 거둔 “The Beast”이다. Microsoft 사의 Jordan Weisman와 그의 팀이 개발하였고 2001.4.11-7.24 에 진행 되었다. The Beast는 영화가 개봉되기 전에 미리 AI의 허구적 세계에 사람들이 빠져들고 체험할 수 있도록 기반의 스토리를 제공해주었다. A.I.의 너무 많은 야야기를 부여하지 않으면서 여성에게도 매력적으로 다가가도록 영화에서 50년이 지난 미래로 이야기를 개발했다. The Beast에 대한 인기 급상승으로 A.I.(2001.6.29)를 성공적으로 프로모션 할 수 있었고 게임이 끝날 때까지 3000,000 명의 게임에 참여했다.
2-2. I love bees
http://42entertainment.com/bees.html
http://www.ilovebees.com/
I Love Bees는 Bungie's 2004 video game Halo 2를 홍보하기 위해 Microsoft의 의뢰로 42 Entertainment에서 만들어졌다. Halo 2 trailer에서 잠깐 메시지를 비춤으로써 궁금증을 유발했고 사람들이 웹사이트로 방문하도록 유도했다. 미국 전역과 해외 몇 곳의 공중 전화를 이용해 라디오 드라마 형식의 오디오 파일 단서를 제공해주었고 소비자들이 스스로 커뮤니티를 만들어 조각난 스토리들을 모으고 공유하도록 하였다. 3달 동안 300만명 이상이 웹사이트를 방문했고, 천명 이상이 게임에 참여했다. 게임은 Halo 2와 동일한 소재와 캐릭터를 공유하였으며, Halo 2 이후의 스토리를 중심으로 전개되었기 때문에 게임의 참가자들은 게임이 끝난 후 자연스럽게 Halo 2에 몰입하게 되었다. Halo 2는 출시 첫날 $12500만원 이상의 매출을 올렸다.
2-3. The art of th heist
(Stolen A3 또는 Art of the H3ist라고도 함)
http://www.mckinney.com/a3_h3ist/
최근의 Television tie-ins and "extended experiences"ARG로는 Audi의 ‘A3’ 모델 프로모션을 위한 “The Art of the Heist”(2005.3.29)를 들 수 있다. 차별화된 브랜드 광고의 필요성에서 시장 조사 후에 분석된 A3의 주요 잠재 고객에 맞추어 A3의 미스터리하고 테크널러지하며 스릴 넘치는 이미지를 다양한 스토리와 캐릭터를 통해 가상과 현실을 오가도록 The Art of the Heist라는 캠페인을 런칭 하게 된다. 아우디 아메리카는 신차 2006년형 A3 런칭을 준비하는 가운데 오토쇼에 전시될 차량인 적색 A3를 뉴욕 판매점에서 도난당했다는, 실제로 일어났음직한 허구적 도난사건을 퍼뜨려 관심을 집중시켰으며 소비자들이 직접 추리하며 캠페인에 참여할 수 있도록 했다. 이 과정에서 아우디3의 차량에 대한 자세한 설명을 곁들여 줌으로써 광고 효과 또한 얻을 수 있었다. 첫 90일간의 캠페인 기간 동안 200만명 이상이 audi USA를 방문했고 50만명이 스토리에 참여했으며 1,025 대의 차량이 판매되는 등의 성과를 얻었다.
2-4. 국내 - 플래트론 와이드 게임, 낸시랭 실종 사건
http://www.lge.co.kr/event/flatron/200702/05_event/week01/event.jsp
국내에서도 비슷한 시도는 LG 와이드 TV의 낸시랭 실종사건을 통해 찾아볼 수 있다. LG전자는 2007년 2월 4일 낸시랭이 플래트론 와이드 모니터 1대와 함께 사라졌다는 허구적 상황을 설정해 온라인 광고를 펼쳤다. (2007.02.04- 2007.04.13) 그리고 그 단서를 인터넷이나 LG매장 등에 숨겨 놓아 참가자들이 그 단서를 찾아내 범인을 찾아가는 일종의 페이크 다큐먼터리 형식의 게임이었고 8주간 매주 소재를 변경하여 시간의 흐름에 따른 추리 진행으로 흥미를 이끌어 냈다. 회사는 2월 16일 오후 기준으로 81만명의 네티즌이 해당 사이트에 방문, 1만8천명이 수사대에 참가하는 등 뜨거운 반응을 보였다고 말했다. 이달초 경제신문들은 낸시 랭 실종사건이 진행된 후 플래트론 와이드 모니터의 판매량은 이전보다 두 배 이상 늘었으며, 22인치 와이드 모니터는 3월이 1월보다 10배 이상 늘었다는 보도를 내기도 했었다.
이 캠페인은 성공적으로 막을 내렸지만 실종 사건이라는 거짓 정보로 인한 네티즌의 당황과 걱정을, 마케팅에 활용한다는 점에서 인터넷에서는 후일담이 무성하였다. 비록 마케팅 성과는 좋았지만, 브랜드 이미지가 좋은 영향을 받지 못하였으며 이 캠페인을 통해서 제품 자체의 정보를 사용자에게 서술적인 체험으로 제공해주지 못했다는 점에서 국내 ARG의 한계를 절감하게 된다.
나가며
온라인 환경에서 브랜드 안에 스토리를 담는 툴로써의 ARG게임을 조사하여 살펴보았다. ARG 게임은 사람들의 입에 오르내릴 만큼 놀라운 화제를 만들어 내고 연쇄반응을 일으켜 퍼져나가고 기억된다. 또한, 게임을 풀어가기 위해 만들어진 웹사이트 등은 지속적인 방문과 커뮤니티를 만들어 내며, 오프라인으로까지 이어진다. 이러한 ARG게임의 스토리 통합적 측면, 사용자 협동적 측면, 크로스 미디어적 측면, 사용자의 상호작용과 지속적 참여를 이끌어내는 측면은 입소문 마케팅으로 활용되기에 적합한 요건을 갖추고 있다고 보인다. 하지만, 비슷한 형식이어도 그 내용과 소재와 환경에 따라 그 효과는 다를 수밖에 없다. World Without Oil을 운영하고 있는 대체 현실 게임 디자이너 Jane Mcgonigal은 대체 현실 게임이 향후 비지니스 현실에 적용되고, 기업의 리더들은 이를 고객들을 활용한 신상품의 개발이나, 기업의 시장 조사, 기업의 주요 의사 결정을 위한 시뮬레이션의 발전된 형태로 활용될 것이라고 전망하고 있다. ARG게임의 더욱 창의적이고 무궁무진한 마케팅적 활용 가능성에 많은 기대를 모아 본다.
참고자료
영문 위키피디아 , ARG [http://en.wikipedia.org/wiki/Alternate_Reality_Game]
구자룡의 입소문 마케팅 스토리 [http://blog.skyventure.co.kr/buzz/]
Space, Time, Play. Friedrich von Borries, Steffen P Walz, Matthias Bottger. Birkhauser. 2007.
코리아 애드 타임즈http://www.korea-adtimes.com/news/contentsview.html?ns_cd=2691인터넷 신문 http://www.hani.co.kr/arti/economy/marketing/191366.html
http://www.dailyseop.com/section/article_view.aspx?at_id=56159한글 위키피디아 http://ko.wikipedia.org/wiki/%EB%8C%80%EC%B2%B4%ED%98%84%EC%8B%A4%EA%B2%8C%EC%9E%84
Golan levin
골란 레빈 (Golan Levin) http://www.flong.com/
골란 레빈은 뉴미디어 아티스트로써 그의 작업은 net art, interactive art, wireless art, Interactive performance 등의 장르로 분류된다. 골란 레빈의 작업들은 퍼포먼스와 동시적 이미지와 사운드를 만들고 다루는 시스템의 디자인에 초점을 맞춘다. 그리고 그러한 시스템은 인공두뇌학에 있어서의 공식 언어와 상호작용성과 비언어적 커뮤니케이션에 대한 일반적인 연구사항 이기도 하다. 다양한 공동작업을 통해 창조되는 그의 작품들은 퍼포먼스, 디지털 가공물, 가상환경을 통해 레빈은 우리와 기계와의 관계를 재조명한다. 이를 통해 추상적 커뮤니케이션과 상호작용성의 교차점을 탐험하며 우리가 상대방과 상호작용하는 방법을 시각화하여 보여준다. [1]
골란 레빈 (Golan Levin)의 작품 소개
Audiovisual Environment Suite
사용자들이 다양한 움직임과 그래픽적 요소들을 가지고 사운드를 표현할 수 있는 "Audiovisual Environment Suite"은 ‘Yellowtail’ ‘Floo’ 등 5가지 오디오, 비주얼 ‘물질(substance)’을 합친 인터랙티브 소프트웨어이다. 형태와 구조는 창조되며 역동적으로 살아 움직인다. 여기서 구조들의 배열은 톤의 진행과 소리의 구성을 결정한다. 이런 작업들을 통해 골란 레빈은 추상적 애니매이션과 합성사운드의 동시적 결합이라는 주제를 매번 새롭게 써내려가고 있다.
Audiovisual Environment Suite, 2nd. Scribble
스크리블 (Scribble)
Audio Visual Performance
Golan Levin, Scott Gibbons, Benjamin Lapidus, Greg Shakar
2000
http://acg.media.mit.edu/people/golan/scribble/
Audio visual environment suite 시리즈의 2번째 작품인 scribble은 추상적 애니매니션과 일렉트로닉 사운드를 결합한 이중주, 혹은 삼중주 형태로 공연되었으며, 정교한 각본으로 짜여진 부분과 즉흥적인 연주를 혼합하고 있다.[2]
Messa di voche
Messa di voche
An Audiovisual Performance & Installation for Voice and Interactive MediaGolan Levin, Zach Lieberman, Jaap Blonk, Joan La Barbara
2003
http://www.tmema.org/messa">www.tmema.org/messa
이태리어로 ‘음성을 위치시킨다’는 뜻의 메사디보체라는 작품은 두 사람이 내는연설, 고함, 노래가 상호작용적인 시각화 소프트웨어에 의해 실시간으로 증대되는 설치 퍼포먼스이다. 이 작품은 추상적인 커뮤니케이션, 공감각적인 관계, 만화적인 언어, 글쓰기, 사보 시스템을 복잡한, 재미있는, 시청각적 내러티브적인 문맥 안에서 중요시되는 주제들을 다룬다.
The Dumpster
Golan Levin with Kamal Nigam , Jonathan Feinberg
2006
http://artport.whitney.org/commissions/thedumpster/dumpster.shtml
Dumpster는 로맨틱한 미국 청소년들의 삶의 한 조각을 온라인으로 시각화하여보여주기 위한 시도이다. 온라인 블로그들로부터 축출한 실제의 포스팅을 사용한 인터랙티브 작업을 통해, 프로젝트 사이트로의 방문자들은 누군가가 내버린, 만개 이상의 특별한 로맨틱한 관계를 탐험할 수 있다. 프로젝트의 그래픽 툴들은 이러한 실패로 끝난 로맨틱한 관계에 있어서의 다양하고 세계적이면서도 공감을 불러일으킬 수 있는 친밀한 양상과 고통, 이들에 대한 독특한 분석과 유사성, 차이점, 숨은 패턴들을 보여준다.
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[1] 위키피디아. 골란레빈. [http://en.wikipedia.org/wiki/Golan_Levin]
[2] 나비아트센터 _Resources _Database_골란 레빈 (Golan Levin)[http://nabi.or.kr/resource/people_view.asp?people_idx=20]
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