(Fig 1: City based on Big Data Demo)
This blog is based on the impact of the digital age that would be flooded with information. In this age, the use of data would serve as an important medium for expressing the creative ideas of an individual. The art developed in the 21st century would make help of the latest form of electronic technologies that includes the use of internet and digital imaging techniques. In the recent technical period, different artists are able to freely mix different forms of media content and thus would be able to express their contents. Based on the works of different artists in US and Europe, it could be discussed about the ways in which they are making use of data and computational platforms in their working criteria.
The visualization of data could be defined as a general term that would describe an effort for helping people for understanding the importance of data by placing them within a visual context. Based on the discussion from various articles, it has been understood that there are too many kinds of creative stories that could be derived from a rich complex data set. The different artists are implementing little tools with the aid of algorithms. These are able to discuss various questions and are also able to find answers based on visual and numerical forms (City of Big Data Demo, 2018).
Scientific based visualization is also another form of technique that helps artists to illustrate the scientific sets of data in a graphical form. These artists also make a wide form of use of the Big Data sets for the purpose of influencing the lives of the people and their emotions. The best form of artistic visualization not only discusses about the patterns and relationships but would also include the choice of the data sets. These artists mainly discuss about the statements from the real world (Manovich, 2016). They mainly focus on the traditional aspects of data and link them with the data sets with the recent times thus developing newer ideas. With the wide form of innovation within the various aspects of art, the artists have visualized that they have been able to co-create the future with the help of Big Data platforms and tools. These innovative aspects are thus changing the face of civilization and are helping for defining new form of aspects of art. The innovation within the various forms of art have thus transformed into immersive visualizations that could be better understood.
(Fig 2: Image made in Weavesilk)
This blog is based on the various ways in which the different artworks would be able to change the perception of audience. In the digital age, new forms of media have the capability to bring interactivity among the audience. The new forms of artworks would be able to bring about the engagement of audience, interaction and active participation among the audiences. In the recent times, audiences mainly engage with the various art works based on the use of different forms of skills such as listening, viewing, reading, watching and many others (Graham & Cook, 2010).
There are two forms of reception, which are passive and active. In the passive form, the viewer would be able to passively receive the message collected from the artist. In the active form, the audiences would directly be able to interpret and construct the proper meaning of the artwork. This could then be able to use them for their personal purposes.
One of the example of digital forms of art is based on a website known as Weavesilk (Silk – Interactive Generative Art, 2018). Through this website, users would be able to create colourful form of digital images within a black background. The participation of audience within the website would help them in relieving them from anxiety or could be used for creating wallpapers. These form of digital technologies would help in the new form of mode of participation and interaction of audiences. With the help of this website, the users would be put forward into a new world of interaction (Flanagan, 2011). The users would be able to choose different elements and would also be directed about the paths to be followed. Hence this would result in a unique form of creative work. Different forms of online interactive forms of artworks such as Weavesilk would be able to involve the participation of the audiences and they would be able to share their level of interaction. The audience participation would be mainly be able to focus on the interaction of the audiences based on the different kinds of websites. The amount of the control over the website would be controllable by the artist who would be working on the system. In different galleries and various public spaces, the audience would become active performers as they would be able to interact with the work. The audience would be able to stand back and thus observe the works of different audiences and members based on their level of participation.
Graham, B. & Cook, S. (2010) Rethinking curating: art after new media, (pp.111-144). Cambridge, Mass.; London: MIT Press.
(Fig 3: Achieves from Jill Magid’s ‘Evidence Locker’)
The ubiquity of public surveillance technology was turned inside out in artist based on the work of Jill Magid’s 2004, Evidence Locker. Jill Magid went to Liverpool for 31 days and request access for the footages of her to the local authorities. In her proposal she wrote “Dear Observer, Make me a diary and keep it safe (Maas,2014). Take care it is mine. Hold this photograph of my face. Keep all our entries in order. Put the letters in your desk file and the images in your evidence locker. You can edit everyone else out. I will fill in the gaps, the parts of my diary you are missing. Since you can’t follow me inside, I will record the inside for you. I will mark the time carefully so you will never lose me. Don’t worry about finding me. I will help you… Sincerely, JSM ” . She wore a red dress to identify herself and the above pictures are captured through the CCTV camera. In one case, she was blindfolded and asked police to direct her to a certain direction. Later she retrieves the footages and composed them as dreamlike diary entries (Creative Time Summit, Art in the Age of Surveillance: Jill Magid, 2018).
Nowadays, most of the populated and crucial areas are monitored with CCTV in order to increased opportunities for surveillance, narcissism, exhibitionism and voyeurism. The factor of security could be defined as the fundamental aspect across every perspective of the lives of individuals (Brighenti, 2010). CCTV surveillance offers that peace of mind leaving the impression that there is always an extra pair of eyes. Surveillance could be defined as a fact of life that people would be constantly be looked on by CCTV. The electronic eyes would be able to look after every aspect and would be able to define every aspect of the works of people.
Based on the art of surveillance, the ‘artveillance’ could be defined as the domain of exchanges and reciprocal influences between surveillance and art. Different researchers within the field of surveillance mainly focus on the works of issues that would arise on the interface of technical and social infrastructures. These would include privacy, surveillance, data protection and prime access to data. Different kinds of artists who make use of new form of media technologies mainly seek for producing different forms of specific events or several encounters based on surveillance technologies. The use and impacts of artveillance could be defined as a form of surveillance, which would be based on the recording of images, tracking of flow of data, process stored and acquired data.
References
Flanagan, M. (2011) Play, Participation, and Art: Blurring the Edges (pp. 89-100). Context providers : conditions of meaning in media arts. eds Margot Lovejoy, Christiane Paul, Victoria Vesna. Intellect, The University of Chicago Press.
Silk – Interactive Generative Art. (2018). Retrieved from https://weavesilk.com/
City of Big Data Demo. (2018). Retrieved from https://www.youtube.com/watch?v=2pM6j8eYhWA
Manovich, L. (2016) Artistic Visualization (Chapter 19, pp. 426-444). A Companion to Digital Art. ed Christiane Paul. John Wiley & Sons.
Brighenti, A. M. (2010) Artveillance: At the Crossroads of Art and Surveillance. Surveillance & Society, Special Issue on Surveillance, Performance and New Media Art, ed. John McGrath and Robert Sweeny, 7(2), pp. 175-186.
Maas, P. (2014) “Art in a Time of Surveillance,” The Intercept. https://theintercept.com/2014/11/13/art-surveillance-explored-artists/
Creative Time Summit, Art in the Age of Surveillance: Jill Magid. (2018). Retrieved from https://www.youtube.com/watch?v=laStNBHSfuU
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