Loading presentation...

Present Remotely

Send the link below via email or IM


Present to your audience

Start remote presentation

  • Invited audience members will follow you as you navigate and present
  • People invited to a presentation do not need a Prezi account
  • This link expires 10 minutes after you close the presentation
  • A maximum of 30 users can follow your presentation
  • Learn more about this feature in our knowledge base article

Do you really want to delete this prezi?

Neither you, nor the coeditors you shared it with will be able to recover it again.


Preserving New Media: Re-presenting Experience

DAC 2009

Jean Bridge

on 31 December 2009

Comments (0)

Please log in to add your comment.

Report abuse

Transcript of Preserving New Media: Re-presenting Experience

Can we expand our
notion of documentation? Preserving New Media Art:
Re-presenting Experience Proposes that simulation strategies with the aesthetic, mechanics and dynamics of the videogame platform, can deliver complex and affective experience of new media artworks for those who may never see the original artwork. new media artwork = technologically mediated installations, performances, interventions, activities and events - that may be limited in time or duration, performance-based, immersive, interactive, relational, or otherwise unstable or technologically obsolete. Documentation It is a record(ing) of the work
It is information about the work
It informs artists, curators and
researchers about the artist's
intentions. We rely on documentation
for our experience of the work
once it is no longer present as a parallel iteration or
version of the work that
expresses the artist's concept
in a new medium with the artist building a preservation
strategy into the work The problem finding affective documentation archives show and tell us who, what, where and why It is hard to find
something that
puts us back into
the work storage, migaration/emulation, translation/reinterpretation What is the first casualty:
experience of the work Can we just improve documentation? reflections: physical minatures
video techniques
Interactive Archives
quicktime VR
audience interviews
scores, scripts, ontologies
real and virtual reinactments Marcel Duchamp’s Boite en-Valise 1934-41 recordings and created documents Scott Hove Cakeland 2009 David Rokeby The Giver of Names 2006 Francisca Caporali, Kym Chapman,
Pilar Ortiz & Uni Park
Havemeyer Street 2008 Eva and Franco Mattes aka 0100101110101101.ORG
Reenactment of Marina Abramovic and Ulay's Imponderabilia
2007 Anarchive
Muntadas Media Architecture Installations
1999 simulation
videogame A convergence of video,
models, animations,
rules and constraints,
affordances and interaction Flexible immersive virtual world
within which to reinact the
experienceof an artwork a space of possibility preserving the videogame re-presentation a new channel
where meaning
and experience
can be produced considerations
for artists and
game desigers experience "the result of an interaction between a
live creature and some aspect of the world." "the beholder must create their own
experience." "without the act of recreation the the
object is not perceived as a work of art." games offer agency,
roleplay, strategizing,
and exploration to
determine outcomes Rirkrit Tiravanija Demo Station 2001 interaction "interaction must cause bodies and objects
to change and variations to arise." navigation
collaboration Blast Theory Desert Rain 2004 aliveness
vitality balance causality, action/reaction flow
with immediacy, thinking/feeling open interaction
relational potentials Rafael Lozano Hemmer Body Moves Relational Architecture 2001 the virtual the virtual and the real
are always wedded Tamiko Theil Virtuelle Mauer/ ReConstructing the Wall 2009 content
authorship death of the author agency of participant Leon Cmeilewski and josephine Starrs The Seeker 2007 challenging
instrumentality poetics and transgression Auriea Harvey and Michael Samyn The Path 2009 Julian Oliver levelHead 2008 Kate Wild, Stephen Honegger, Ian Malcom, Andrea Blundel, Julian
Oliver, Justin Halliday, Matt Harrigan, Darren Taylor, Chris Markwart

Escape from Woomara 2003 Anne-Marie Schleiner, Joan Leandre and Brody Condon
Velvet-Strike 2002 art-games Jason Rohrer Passage 2007 Marina Abramovic performing
How to Explain Pictures to a Dead Hare
by Joseph Beuys 2007 a strategic approach
What must a simulation/game
accomplish for the artist? immediacy of the live work
respect creative impetus
maintain essential characteristics
enable a re-entry into the work
allow work to persist in new form What will be demanded of the artist? expand creative process

collaborate with game designers/developers

honestly evaluate merits and demerits Richard Reinhart Laurie Anderson Puppet Motel 1998 How will this happen? Artists will need to collaborate in diverse, complex multidisciplinary teams Artists will be challenged to find simulation and game professionals who want to work on experimental and speculative projects. Indie game developers have their own aspirations to making art. Projects can take advantage of a variety of platforms. Art funding agencies, museums and archives will need to fund projects. There may be markets for such works. bridge the theoretical and
practical considerations of
two broad domains that are
comprised of a range of very
distinct disciplines Jean Bridge, Brock University Artwork and videogame are invented constructions with layered associations.

They are performative, poetic and relational.

They are both a platform for
artificial/imagined not a copy of the original -
a new iteration or version lj;lwi3[to3p
Full transcript