IGITAL MEDIA I: TIME & PROCESS IN DIGITAL MEDIA
Dear writer im sorry that this essay only have couple day to finsih because the dead line for this essay is March 2, before 5pm please do you best and let me know if you need anything thank you
in Jaron Laniers Where did the music go?Lanier laments:
Theres a question Ive been asking myself for about a decade: Why cant
kids make up their own styles of music these days? They seem to be stuck
listening to their parents music for the first time since electrification.
Yes there are new bands, but they almost always sound just like old bands-
really old bands. Mainstream(white) kids are listening to the youth
music of the baby boomers, which at this point is often the music their
grandparents listened to. They accept either the originals or pale
contemporary copies. Black or Urbanmusic hasnt been stuck in freeze
frame for as long, but its still stuck.
Depressing, aint it? And maybe you dont agree with him about the state of
pop music. But debating that isnt the assignment. Your mission is to make
sure that Your generationsdigital media art is not the digital media art
of your grandparents er uh, well, the 90s.* What is _your_ vision for the
immediate future of digital media art? In what direction(s) should it go?
[*Note: if you are not in the traditional college age group, feel free
to interpret Your generationany way you see fit. Youll note that the
assignment can be addressed without being in any specific age group.]
Based on readings, discussion and application
of your own ideas, write your manifesto for the use of time and/or process in digital art.
What is a manifesto? Websters Online puts it this way:
A written statement declaring publicly the intentions, motives,
or views of its issuer”
I guess thats a so-so definition… but lets clarify a little more:
Numerous examples of manifestos can be found online: everything from
the Communist Manifesto to the Unabomber Manifesto, as well as
the Futurist Manifesto and the Technical Manifesto of Futurist Painting,
which in turn inspired the hopefully-entertaining
Manifesto of the Futurist Programmers.
What do these manifestos have in common, besides creating the impression
that their writers are fairly irate and at least a little off-balance?
1) They state their authors personal opinions, rather than simply
regurgitating history or the opinions of others.
2) On the other hand, they refer to reasons and examples for their
opinions, both good and bad. They dont just say The old way is rotten;”
they say, The old way is rotten because of this and that heres the
new way it should be.”
Ok, if youve got that, you might be wondering: Must I scream and
yell in my manifesto like these other manifesto authors?No.
Hey, its *your* manifesto, so it should be *your* style. (Besides,
that screaming and yelling stuff was from the *old* school of manifestos,
Youre also being asked to cite the course readings, class discussions and
screenings in your essay as you explain your opinions. Does that mean
you necessarily have to agree with all of them? Definitely not. Nor do you
necessarily have to disagree. But you should cite them and then explain
why you agree or disagree, and more importantly, how *you* think it
As we learned from Lanier and Brooks there are any number of ways to think about things, so you are encouraged to Think outside the box.
Example of Not-Very-Good Manifesto Style:
I agreed with the comparisons of livecoding to dance and jazz improvisation that Alex McLean makes in Hacking Perl in Nightclubs.I find that when I am programming I envision my algorithms in motion; the parallels to dance and musical improv are likewise clear in the performances of the musicians in the TOPLAP video.”
The above might be OK in a book report or even an essay asking you to analyze
the readings, but doesnt quite cut it as a manifesto, because I havent
said anything original about how *I* think it should be, Im merely
analyzing other peoples work. (Besides being generally a little
Example of Better Manifesto Style:
(Not necessarily all thoughts I personally agree with. Anyway, please dont gratuitously mimic the following stuff in your paper. 🙂 )
In Alex McLeans essay, Hacking Perl in Nightclubs,Mclean compares livecoding to both jazz improvization and dance. Many programmers have sensed a similar connection while coding, and its clear from the performances of some of the TOPLAP musicians that they sense this parallel acutely in their performances. However, Id argue that this sense of the present, of data and algorithms in constant motion, isnt limited to musical performance nor is it an experience peculiar to programmers. Our generation has come of age with data in constant flux: from blogs to Instant Messenger and SMS to incessant updates from Facebook and Twitter it seems natural to us to think of information is in constant motion. While my examples from consumer culture focus on data in motion and McLeans examples focus on algorithms, these two concepts are inextricably linked. The end result is the same young people have come to expect software to be dynamic. Digital media art needs to grow in this direction no longer is the You do something, and then it does somethingparadigm sufficient. Art must do something first, last, and always the user is a participant, but the art must have a life of its own.
Or whatever.. and so on…
And so on for how long?
About 2 4 pages (Double-spaced, Times 11-pt font.) Although many famous manifestos
are long-winded, this is not one of their more endearing qualities…
Which brings up another point: dont blow hot air (even though many manifestos do so). Be careful of pat generalizations, like People nowadays dont connect on a personal level.If you want to make a statement like that, make it *specific* (Which people?) and *support it* (What are those people doing that makes you think theyre not connecting on a personal level?) That way, you dont sound like youre pulling stuff out of your elbow.
Citation format: When you cite readings from the reader, its fine to simply mention the author and the essay in the body of the paper (as I have done above.) However, if you cite external sources for example a magazine article please give a full bibliographic citation so that your TA or I could find the original source. (Any standard citation format is fine, i.e. MLA, etc.)
*here is the stuff we learn in class
Wks. 1-2 (1/5, 1/12) class intro and Early media structures: then and now. Montage <-> Narrative <-> Formalism
Readings (due class 2): The Digital Revolution…Grahame Weinbren (1997). Roberts: The Present Tense.”
Screenings from among the following: Potemkin, Maya Deren, Vertov.
Olia Lialina: My Boyfriend Came Back from the War, Alexei Shulgin: Form Art, Ben Benjamin: Superbad.com. Amy Alexander: Thebot”, Sara Roberts: Elective Affinities. Douwe Osinga: Google Talk. More by Douwe Osinga. Google: Spreadsheet Art.
Remember new media narratives like Johnny Mnemonic?
Assign Homework #1.
Tech: Package intro -> Basic scripting. Video, sound.
Processing.org (2010) ….and as it was presented Waybackin 2004 .
Interesting texts on the language of the web when it was new Olia Lialina: The Vernacular Web: The Indigenous and the Barbarians
also: The Vernacular Web 2.
Wk 3 (1/19) Systems <-> Formalism.
Readings due: Digital Mantras: “Kandinksy”. Second Viennese School”. (In these two readings, focus on understanding the main ideas in the artists development of systems. You dont need to memorize details of the systems nor biographical details about the artists.)
Optional Readings: Excerpt from The Language of New MediaLev Manovich pg 145-155 (original book page num