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== =Name: Gongkai Liu= Major: statistic Art experience: Chinese ink painting Software experience: photoshop, Imovie, Iphoto Art interest:

=5 Principles of New Media:=

Part one
dimension 1280*1280 (17.778in*17.778in) color space RGB 125KB



Masking practice
=Reading Response=

After read the velvet revolution, I had a new understanding of the evolving history of after effects, film editing and multimedia integration. Before the reading I didn’t have a clue about how revolutionize it was when the digital arts showed up, and I assume, due to the fast speed of technological improvement, art creation will be more approachable to every individual in the next decades.

This improvement will be triggered by many factors. To begin with, people, not limited to artists or professionals, will be likely available to obtain high-resolution source materials, such as HD pictures and short films. Thanks to the development of photography, people nowadays can afford their own HD photographic equipments, and due to the portability of these equipments, they can almost carry them everywhere they are travelling without worrying about the heavy weight. What’s more, with the common use of smart phones, everyone can capture their daily life as a source material, and I assume, there will be more wearable devices, like google glass, available to everyone. By then, the limitation of source material will be mostly overcame; therefore, people will have unlimited resource to do their artistic recreations.

Another fundamental factor is the improvement of storage devices. According to the reading, it was not until late 1990s since the massive use of digital storages. In other words, after taking a large amount of source materials, individuals can store them in comparative smaller devices, like hard drives and flash drives recently. Because of the size of these devices, people are more likely to carry them to other places in order to share or modify. What’s better, due to the invention of “Cloud Calculation”, the accessibility and capacity of storages have been improved to an unprecedented level. I assume, in the future, the large corporation of art recreation will be based on “Cloud”, and multiple artists can work on the same project at the same time at their own remote ends. As a matter of fact, “Cloud” corporation has been brought to practice in some Americans filming industry recently, and we can easily foresee the widely use of “Cloud”.

Last but not the least, the development of editing softwares will be more user-friendly and versatile. Before the invention of softwares like Photoshop and IMovie, the recreation of art was only simple modification, but was extremely time consuming and required specialized skills. Recently, due to the widely use of new computer softwares, recreation of different source materials is easy and straightforward, and most people can learn to use these softwares within minutes. And these softwares can do a variety of jobs that might be impossible or hard to do without them. For example, according to the reading, before the software development, artists were only able to show 3D figures in monochrome wireframe; however, now we can integrate multimedia into one creation. In the future, I assume, the software - developer will be more likely to design more easy-to-use softwares for the general public, and these softwares will boost both their efficiency and versatility.

In closing, due to the fast development and massive experience we have, the after effect recreations will be improved to a higher level in the next few years, and every individuals will be a participant in creating arts.

Three Questions:
Mentioned in the book "Great Divide", Andreas Huyssen defines a term "computerized memory bank"; why this term is important to artists regarding their work?

We used the term "Media Remixability" to describe a new situation where all types of media met within the same digital environment. Why is it possible?

Regarding the history, it is very difficult to compose a multilayer animation due to the limited tools then have. What are the differences about the layers and transparency before and after the Velvet Revolution?

=Response to Manovich=

How is our experience of a spatial form affected when the form is filled in with dynamic and rich multimedia information? Although historically built environments were almost always covered with ornament, texts and images the phenomenon of the dynamic multimedia information in these environments is new. Also new is the delivery of such information to a small personal device such as a cell phone, which space dwellers can carry around with them.

In Manovich’s passage, he discusses how the general dynamic between spatial form and information which has been with us for a long time and which he outlined earlier functions differently in the computer culture of today.

In 1990s, people are exposed to new virtual spaces made possible by new-developed computer technologies. Image of different location, format, and types can exist in the same art piece in a parallel state. Later, artists were able to extent their working space from only virtual to integrated art forms. Introducing mp3 in pictures can make the picture to talk or sing express the meaning of the artist to a higher level. There were three major technologies that applied in 1990s: Video surveillance is becoming ubiquitous. No longer employed only by governments, the military and businesses but also by individuals; cheap, tiny, wireless, and net-enabled, video cameras can now be placed almost anywhere. If video and other types of surveillance technologies translate the physical space and its dwellers into data, cell space technologies (also referred to as mobile media, wireless media, or location-based media) work in the opposite direction: delivering data to the mobile physical space dwellers. These displays are gradually becoming larger and thinner; they are no longer confined to flat surfaces; they no longer require darkness to be visible. In the short term, we may expect large thin displays to become more pervasive in both private and public spaces.

While we may interpret the practices of selected architects and artists as having particular relevance to thinking about the ways in which augmented space can be used culturally and artistically, there is another way to link the augmented space paradigm with modern culture. Here is how it works.

In his passage, he describes the tradition. Among the different oppositions that have structured the culture of the 20th century, and which we have inherited, has been the opposition between the art gallery and the movie theatre. One was high culture; the other was low culture. One was a white cube; the other was a black box. Given the economy of art production – one-of-a-kind objects created by individual artists – 20th-century artists expended lots of energy experi- menting with what could be placed inside the neutral setting of a white cube by breaking away from a flat and rectangular frame and going into the third dimension: covering a whole floor; suspending objects from the ceiling; and so on. In other words, if we are to make an analogy between an art object and a digital computer, we can say that, in modern art, both the ‘physical interface’ and the ‘software interface’ of an art object were not fixed but open for experimentation.

Questions:
1. How to interrupt multimedia according to the reading? what are the key features? 2.What is the most important invention in 1900s that the author discussed in his passage? 3.what are the three method that the author mentioned in the passage that applied in 1990s?