This course looks at the emergent forms of digital art over the last 80 years with emphasis on the last two decades. We look at, read about, and discuss artworks given labels like: electronic art, new media art, sound art, interactive art, installation art, web art, game art, generative art and more.
This will be a collective investigation of the History of Digital Art. Over the ten weeks we will look at the most well known examples of Digital art while also seeking out those not quite so well known. We will work to expand upon a public body of knowledge, turning effort in the class into research for future students and scholars. We will look at 7 themes in digital art structured around the required text, "Art and Electronic Media"
Articles in this group
Designgraphik is a series of experimental interactive animations, the first of which was created in 1998. Nine total iterations have been created, the most recent of which was released in 2008.
Finding Eutaw and North is a 34-minute animation created in 2005 by WeWorkForThem, the collaboration of Michael Paul Young and Michael Cina. The piece consists of a series of a series of abstract vignettes of Young's 3D animation and Cina's audio work, which were mixed together live using custom software.
The piece combines abstract, dynamic architectural models with ambient music and audio samples, intended to convey an interpretation of “the mean streets of Baltimore”. Rather than an interpretation of the visual aspects of the city, Finding Eutaw and North is a response to “the mood, the lifestyle, the ideas, the language.”
Polygon Playground is a 'dynamic lounge object,' incorporating 3D projection technologies and sensors to detect movement and proximity of people in the room. The physical structure is such that up to 40 people may climb, rest, or walk around it, while sensors cause the 'landscape' to continuously change as as long as there is human presence.
Outerspace is a reactive robotic creature with lifelike interactive behaviour. The robot wants to explore the world surrounding him, or the outer space, exhibiting curiosity and waryness as an aprehensive animal might. A participant may put a hand up to the robot and cause it to pull away, as if surprised at the recognition of another being, then move forward searching for the thing that caught it's attention. The concept that insprired the work was that an object, inherently not living, cannot have emotion. In order to create an emotional object (the goal), first the thing must be aroused, feel, have a emotion; then comes emotional expression. In technical terms, it must read input and display output.
Part photography, part performance art filtered through an algorithmic structure, Nathaniel Stern's Compressionism uses a document scanner as the tool of choice, which takes on the dual roles of paintbrush and c