AfForDance

AFFORDANCE::

Is an element which allows us to change

an object or thing in such a way that all-

ows us to preform a new action or take

on a new role. Much like the fluidity  of

dancing which causes our bodies being

to shift and take on a new role.

GoogleEarth

 

 

 

READINGResponse#3

In Branda Laurel’s essay “Narrative Construction as Play” she begins her essay by talking about her research on how the sexes differ as a child on how they interact and play with games. During Brenda’s studies she found that the girls were usually turned off by video games due to their preset limitations of characters losing the aspect which allows you to use your imagination. In the study one girl even claiming “ these characters are so boring you can’t even make up stories about them. After this realization in video games and the loss of using your imagination in them Brenda restructured video games so they would appeal more to both sexes, creating new games which allowed to create your own charters or go into their charters personal life. This idea branching off even further to world wide interactive games over the internet where players can interact with one another.  In this article I found it particularly interesting how it is the freedom of allowing your audience to use their own imagination which is most appealing to public in use of entertaining people . I find this idea very peculiar because typically video games are used as a way to create a new abstract world where the gamer does not have to use his own imagination to create, which causes me to question is a video games true purpose then not to create a whole abstract world but rather to be a starting point for people to get their imaginations going?

ReadingResponse[2]

In the essay “For an Art Against the Cartography of Everyday Life” by Ryan Griffis, he looks at locative media. Griffis tries to answer and look at locative media and what it is and some of the questions it raises to critics.

Griffis first discusses the Esther Polak’s mapping project entitled “MILK”. This project in 2005 winning the Golden Nica award at Ars Electronica, included text, video, and photographic images to map the production of cheese. Mapping nine dairy farmers through GPS technology, Polak attempts “to give us a gimps into the social and spatial construction of cheese”. Although Polak claims “MILK” to be a “technology experiment” some have questioned as to why projects like “MILK” are not considered to be a form of documentary. Griffis argues that yes, projects like “MILK” do have similar qualities/intentions(hoping to open peoples eyes as to what is really going in in the world) to a documentary. However, it is how the locative media artist is able to annotate space which differs the two.

I agree with Griffis, that it is how locative artist is able to transform space and play with the public in order to get their idea across which defines the locative artist from the documenter. The documenter rather recording things as they are and exactly what they see without their inclinations.

A good example of how locative artist are able to interact with the public in new ways to present their view on what is happening in the world, and voice their opinions one which Griffis mentions in his essay is the Toronto based project “Murmur”. “Murmur” using technology to attach sounds and stories to spaces to annotate space and change how people interact with or view that space.

In conclusion, although documentaries and locative art carry many of the same qualities within their pieces. It is the locative artist who is able to play with and transform their space in order to provide a new insight to the public. Where it is the documenters job to record their space without infliction to state their opinion.

LocativeLINKS

http://www.loca-lab.org/

Loca is a project by a group of four artist: John Evans, Drew Hemment, Theo Humphries, and mike Raento. This was an interactive project where they set up these concrete boxes around the city to tap into peoples blue tooths and monitored there cell phones to send them texts messages as if they new them ……

http://yellowarrow.net/v3/

Yellow arrow is a project which first started up in Manhattan in 2004. Thislocative art allows participants to place a yellow arrow with an attached code tovarious locations around the world where they can enter in their story about thisspace, which is open to the general public via internet or cellphone. The goal of this project being to open up peoples eyes as to how others have there own uniqueexperience with that location…

http://web.me.com/jasonruck/Site/Google_Maps_Art.html

Jason Ruck an Australian artist whom uses google map to make some beautiful google map art ..

http://abduzeedo.com/clever-google-maps-manipulations-christoph-niemann
Christoph Niemann makes art using the same template as google map to map out new realms of the world ..

vinylc-u-t-t-i-n-g

 

panOrama.panoRama.panorAma.

 

ReadingResponse[1]

In the first half of Erkki Huhtamo’s essay “Trouble at the Interface, or the Identity Crisis of Interactive Art” he talks about the definition of the interactive arts, what exactly defines this term ‘interactive art’ and they it is such a complex term in the art world which is troubling to precisely define. Due to the fact which Huhtamo touches on that in the beginning of interactive art it was questioned by critics as to whether this art form was an art form. Many critics at the beginning of the digital active arts claiming it to have posses more of the qualities of that of a video or arcade game. Although it is understand to see the connection upon how they both relied heavily on a computer output in the Beginning of interactive art. However I question their likeliness upon both the creators intent and also the profoundness of the message within the digital realm they have created. Although some great video games may have moral stories or contain certain views upon society, it seems all they video or arcade view and messages are rather generic and not as profound. Whereas within the interactive arts it is usually opening your mind or broadens your thoughts intentionally on something. The definition of interactive arts was also question by Huhtamo in regards to Ben Rubin’s and Mark Hansen’s Listening post. The work installation being debated as to wither or not it was truly an interactive piece due to its rather submissive interaction with the viewing public. In Regards to The listening post I consider it to be interactive art in the fact that it interacts with the live human public in the present moment in time though the means of the internet which is a vital part of their art piece to exists and work. After the listening post won the top prize atPrix Ars Electronica it also caused a lot of controversy about the term ‘interactive arts’ and what exactly makes that term. One question brought about after the listening post was awarded top prize was also if a computer was needed at all in the art form of interactive arts, it was concluded that computers and technology was not a necessity for the interactive art form although it does seem to continuously be a repetitive substance in the case of interactive arts. In conclusion although interactive arts is a hard term to define due to all art being interactive in some way, i believe that the intention for your art to directly interact with your viewer and make your viewer physically move is sucessful in the terms of it being interactive art.

Panorama.pAnorama.paNorama.