A relative theme throughout our discussion of 'new media' and these iPodU courses are adaption and exploration. Ilan Katin, in the beginning of his interview, said that he began painting but realized that that is not the direction to go. He found computers interesting and thus starting a path that lead to animation and effects.
This transition of Ilan's was about the time when using computers to create art really took off. I often wonder what it must have been like for painters who have used their medium for years and then notice a shift or boom in computer technology that has seemingly spawned a new wave of artists. Today, with affordable computer technology and other tools, people are able to create things in different ways. But because of it's rapid speed, it is constantly changing and it seems that it is not leaving room for perfection.
Ilan had that curiosity of wanting to constantly change things, and because he views art as a constantly changing and evolving thing- he felt using computers was where that evolution was going to take place. (right)
Now, Ilan had said that he was a painter but felt he should explore computers. But at 11 minutes 34 seconds, he was quick to admit that having fundamental art skills such as painting and drawing lead him to be the artist he is today. The idea of doing something on the spot, having an audience react to it instantly is what is interesting.
at 17 minutes 40 secs in, Ilan makes a joke. Raphael asks "DaVinci 2008, these tools are available to the visual artist, what do you think would happen?" Ilan says "you would have Murakami (laughs)". I would assume he means Tashi Murakami, a japanese artist who, basically, took the philosophy of Andy Warhol "turning things of commercial value and making them art" and flips it (making art into merchandise ie. $5,000 Louis Vouitan handbags).
I know this is aside from what was actually spoken- but I was interested in him relating Da Vinci to Murakami- any thoughts?
I will just sum up what I began to think by saying that what defines this 'new media' is adaption and exploration. We as New Media students think we are being forced to use a certain program or tool, which- yes we are, but we are forgetting the lesson; and that is to adapt to whatever medium. And not to be intimidated by things we do not know, exploration and curiosity and daring to go beyond is what makes these people (artists) unique.
"We as New Media students think we are being forced to use a certain program or tool, which- yes we are, but we are forgetting the lesson; and that is to adapt to whatever medium."
I couldn't agree with your more Stephen. We need to understand we're just being given the tools to create, not the creativity itself, nor the piece of software that we will understand best. Personally, when I am asked to edit photos in Photoshop I shudder. I use iPhoto more than anything because I click on the edit button and I can get all the saturation, hue, and contrast all in one panel. Call me lazy, but I'm perfectly happy with my results.
To talk about what Ilan said about art, and VJing, I think that what he said about a piece needing video is not completely correct, although I'd like to play with video during my concerts. I don't feel we need video in a concert setting. Music is still art, but you don't always need video. The performance is it's own visual aspect and if the musicians/performers are good enough, it can be more stunning than any visual piece. For example, one of the most energetic bands I've seen in the last couple years, is At The Drive-In (RIP). You couldn't keep those boys still if you nailed their feet to the ground. That compared to a band that just stands still.
Ilan also said early in the lecture, that he wanted to create art that was more like life. I am not sure if art should mimic life, or life should mimic art.
Da Vinci, Murakami. Big names. The latter being of our time. But Da Vinci. Was he indeed as well known as Murakami is today? And will his name survive the test of time? Sort of off the subject but something to think about.
My point was that both were ready to use whatever materials were available at the time to their own ends. And with great effect.
Second part about video being a requirement. That was a requirement set for the Mapping VJ Festival. Personally if I were to start a festival without any requirements other then 'hey... that looks like fun... lets put that together with something else that we like and have a show.' But then from a 'marketing' point of view we would lose the VJ token that appears to be the calling card that draws public attention. And in this case... your attention. Kind of like the delicious term 'New Media.'
I guess it would be more like what Elsa Vieira and Ana Karvalho are doing with Arbertura in Lisbon.
Art and life are intertwined. The only thing that draws the line is the one each person makes. Drawing the line is shooting something on film or rendering it on paper. It is where the interpretation begins. What I meant to say was that in my work I like the moment of creation to be alive or 'lifelike.'
I like being able to make something on the spot, modify it and then erase it so that the act of creation only implies permanence as opposed to the permanent implied permanence of a video clip preserved for posterity and played over and over again. Although that depends on a lot of things. The performance of Rafaël was probably the most intense and inspiring work and never mind what he used to do it and the fact that there were only 15 people in the audience.
Lastly... I am really impressed with you analysis. Thank you for taking the time to see/listen to the interview.
First Ilan, thank you very much for taking not only your time to speak with Raph for the iPodU course, but also the time to review the blogs and comment; it really is appreciated.
I do think of todays renowned artists and wonder if the significance of their work will be admired years to come. Did admirers of DaVinci's understand or take the time to reflect i nthe significance of his work? Was it significant decades later? We can only speculate based on comparing the artists who may be the a 21st century DaVinci. Interesting point you made.
Another interesting point you made, Ilan, is that art and life are intertwined and the individual can only draw that line. Yes, drawing the line is the medium and the medium can steer the interpretation. I find that "in the moment" creation a very intriguing and organic process. The audience is to Vj's as alcohol was to Jackson Pollack, although I am sure the Vj has a more conscious decision making process. But what I am trying to say is that the audience is actively participating in the creation of art- which makes it incredibly surreal and amazing.
To follow up with what a lot was said by Ilan, I totally agree that we as artist are having our sight stolen from us, and that it is hard to not be influenced by other peoples art, in the sense that we take away something from it. When you look at a piece and see something in it that relates to someone else’s art you think to your self, now how is that original, I think that part of the problem is that we do live in a world of a remix culture, its hard to escape the arms of the world without becoming lost.
There were a lot of things that were brought up in the conversation that seemed to be very interesting to me; one of the first things was how Ilan spoke about the lights of the projector. I could see exactly what he was saying and describing, and it seems to be a beautiful thing, not just in the sense that the imagery is beautiful, but the idea of seeing a drawing or painting in light and pure in form, seeing colors change in the air with no exact meaning other than the pure relationship to the music, or the sound.
I agree with Rpah when he talked about using modul8 as a way of editing, or sketching. I took his summer course and it was an amazing eye opener to the world of Vjing, I found myself enthralled with the tools, both the hardware and the software. For me modul8 is perfect, and I found that I was able to do just about anything in it. Since the class, I have done a couple of gigs around the area, and likely to continue to use the software and advance my technique and find my own way of using the software. I now use the software once I a while to help me create interesting videos for my projects in classes, using the falters and controls to give some parts of them a unique feeling, I cross between modul8 and AE, and tie the two together creating a dynamic feeling to a lot of my stuff.
I found that the lecture over all was a great way to introduce to people what someone out in the world using this software is like, and how they feel about the tool they are using. Another interesting thing that came up in the interview was how Ilan was talking about the I chat video recording and how by seeing yourself and the others its like Warhals portraits of people who would be seeing themselves as he worked, and as they saw themselves they just began to disintegrate. The idea is beyond elegant, it is so true, and it’s also a commentary on how narcissistic our society is. Everything we do seems to revolve around the individual, and the image of the individual, not just the physical image, but also in everything that the individual stands for, what they really do for work, the things they produce, even if all they produce is waste and are just a consumer, that entire entity seems to be dedicated to feeding the self absorbed individual. It is important not to understand yourself before creating work, and it is even more important to find yourself by doing your work, in the sense that you need to make the journey to finding your path by doing the work you want to produce, but not to be too distant from who you truly are, and to keep a constant understanding of what things make you the artist the person you are, yes you will change, so yes your work will change, the important thing to remember is to like Ilan said, to keep true to yourself.
I particularly liked this lecture because I was familiar with the program in which Raph and Katin were talking about. While Katin described how he tried other things before coming to "VJ-ing" it made me think about what he said about "finding your voice." I don't think finding your voice necessarily has to do with finding the right technology, but actually finding out a way to use the technology in a way that interests you and helps express your inner voice as an artist. Modul8 has many different uses and effects you can apply to video but painting, as Katin does, was a use I was unaware of. I like how katin uses a program in a way that was not the programs main use, but that use helped him find his inner voice and expressions. Just to note on painting in modul8, I liked how katin said how live the video is and how that in itself is an art form that is very powerful, and power is something that anyone would be attracted to.
After mentally reflecting on my own art which consists mostly of video/film, I'll have to agree with Ilan in that it is extremely difficult to not be influenced by other peoples art. I found that most of my movies I've made have come from other people's ideas. Right down to applying simple certain effects to the credits, I often see an example that I like somewheres else and then collaborate it with my own imagination. I don't claim that the final product that comes from this is 100% original because it has indeed been influenced by other peoples art and styles. I often wonder of the type of movie I would make if I had never seen a movie before and thus not being able to be influenced by other peoples art.
Neil... I find it is really difficult to not draw like my mom. Sometimes I don't but very often when I am just sketching a face while on the train her style surfaces almost immediately and I am not really consciously trying to invoke it. Strange. Not a bad thing either but if I am going to draw differently I have to make a conscious effort to do so.
Bottom line is the concept of 100% original is false. My guess is it's just how old information is decontextualized.
I have always been fascinated by people who perpetuate genres. People who take up being a Punk even though the initial impetus that created it is long gone. I will make a controversial statement that looking at a Punk today for me must have felt like what some people might have thought about someone who was following Jesus 100 years after his death. To cover my butt I would like to point out that I look at contemporary Punks with reverence. I admire the attitude. Same goes for goth kids. All of them are on a journey. Most will eventually discard the look when they discover that what they are expressing externally can be cultivated within and more easily communicated without the gear. But that is changing as more and more people become Punks or Goths and sooner or later you can work in full regalia at McDonalds. Not that you would necessarily want to do that.
Ilan- While typing my previous post I was forced to play with the mental realization that most...if not all of my ideas/pieces etc. are all influenced by others. I'll have to agree with you that the concept of 100% original is indeed false...in today's society that is. I only say that because i often think, was there ever a time where there was something 100% original? The first thing that comes to my mind would be cave paintings. Were these cavemen, obviously without the mental ability to distinguish art, who were making marks on a cave wall which simply resembled their memory of hunting, gathering, and explorations, creating that of something that has never been done before, 100% original? Just a crazy thought from my crazy mind...
Piggybacking on something Stephen was talking about in relation to Ilan changing mediums -- I wonder what the next medium will be where people put down photoshop and after effects and say "HEY NEW MEDIUM". If you want to analyze a lot of new media art, processes with computers are heavily involved. Therefore, the main medium is the computer (which could be broken down into video, internet, etc.. but for the purpose of this posting i'll say computer). Digital technology is always being manipulated to create art. People hack every new product as it comes into the market, as well as use those same products experimentally. Although the results are normally new and interesting, I wonder when there will be a giant shift in the way we process culture because I think that will be a true medium shift.
I battle with the artistic perceptions of new media at times. As Ilan said -- having a history in painting and other arts has helped him develop skills for computer art. I have taken art and art history classes, and I really do not cross-apply the concepts. I am really no good at traditional art - painting, drawing, etc. I really suck at it really. I remember sophomore year when Raph would always say "take tons of art history classes". I took Art History, got an A, and did not learn anything valuable specifically for my work in new media (i find that sociology helps me more in new media). I think for a lot of people the concepts can cross-apply, but I am strongly irked when traditional artists use their background in "traditional fine art" to put down new media art. In a generation or two, new media art is going to be more mainstreamed than traditional art (though I don't think it will die - and if it ever does it will be a long time from now). There are more VJs, new media exhibitions, etc, so in the future those skills will not have been taught anyways. I think some people are just resistant to change, which makes sense, but even here at Umaine, there seems to be a huge gap and tension between the traditional artists and the new media artists. I have seen this, friends of mine in both art and new media have seen this. It's rather quite ironic that art and new media are supposed to function so well together, yet there are these superiority complexes (in both fields)
Than being said, there are useful skills to be learned everywhere. Like I said I use sociology a lot of times in art (my final project for example). I think the message within art is more powerful and authentic than anything else. Of course, you need good skills in order to create these projects, so one should never stop learning whether it be in art, new media, sociology, or philosophy.
Although I feel very strongly that mediums are very important and should be chosen very carefully and almost as powerful as the message itself -- mediums do change. Like Kory said, there needs to be an adaptation, but in some senses once old mediums die, they once again become new. Hypothetically, in 200 years painting is no longer a medium. In classes students learn about this medium that was "PAINING!". Some students are interested and play around with pigments and DIGITAL BRUSH. Long story short -- they recreate the medium. Although mediums relate on a popularity scale, they can never truly die if people love them. There are still tons of people using film cameras because of the process, and though it is older (and a lot of people have "adapted" to the new medium) -- you should do what you love regardless. Supplying this love may become more difficult, but it will also allow you to fully push the medium!!
Neil, not a crazy thought at all. To this day nobody knows exactly what kind of cocktails and cheese were being served at the 'openings' at those caves. The best we have is Mel Brooks re-enactment from History Of The World Part I.
Matthew, the next 'hey new medium' will be biotech. If you think life is surreal now imagine how all those crazy characters people are drawing now will start to manifest themselves as living organisms that you can procure in your back yard? Are we in big trouble? You bet. Speculation on my part. Oh well.
There are always gaps and boundaries between people. It is the mental condition of human beings to do so. I like that you are more inspired by sociology. As someone who works with video stuff I am usually most inspired by human beings. More recently I have taken an interest in logging in my mind scenarios that I see unfolding on the street. The dynamics between the different people I interact with on a daily basis. In other words I am more interested in stuff that is not art. In fact most of the artists I have met, despite being completely absorbed in becoming an artist, spend a lot of their time observing life. Their job being to frame it and in some instances sell their interpretation of it.
Part of my joy in being involved with the Mapping is that I am part of group of people who are trying to create an experience that is larger then ourselves.
Politics is similar but the stakes are much higher.
It's about the frame. In this day and age the constraints of that frame are (or can be) anything within the minds eye.
10 comments:
A relative theme throughout our discussion of 'new media' and these iPodU courses are adaption and exploration. Ilan Katin, in the beginning of his interview, said that he began painting but realized that that is not the direction to go. He found computers interesting and thus starting a path that lead to animation and effects.
This transition of Ilan's was about the time when using computers to create art really took off. I often wonder what it must have been like for painters who have used their medium for years and then notice a shift or boom in computer technology that has seemingly spawned a new wave of artists. Today, with affordable computer technology and other tools, people are able to create things in different ways. But because of it's rapid speed, it is constantly changing and it seems that it is not leaving room for perfection.
Ilan had that curiosity of wanting to constantly change things, and because he views art as a constantly changing and evolving thing- he felt using computers was where that evolution was going to take place. (right)
Now, Ilan had said that he was a painter but felt he should explore computers. But at 11 minutes 34 seconds, he was quick to admit that having fundamental art skills such as painting and drawing lead him to be the artist he is today. The idea of doing something on the spot, having an audience react to it instantly is what is interesting.
at 17 minutes 40 secs in, Ilan makes a joke. Raphael asks "DaVinci 2008, these tools are available to the visual artist, what do you think would happen?"
Ilan says "you would have Murakami (laughs)". I would assume he means Tashi Murakami, a japanese artist who, basically, took the philosophy of Andy Warhol "turning things of commercial value and making them art" and flips it (making art into merchandise ie. $5,000 Louis Vouitan handbags).
I know this is aside from what was actually spoken- but I was interested in him relating Da Vinci to Murakami- any thoughts?
I will just sum up what I began to think by saying that what defines this 'new media' is adaption and exploration. We as New Media students think we are being forced to use a certain program or tool, which- yes we are, but we are forgetting the lesson; and that is to adapt to whatever medium. And not to be intimidated by things we do not know, exploration and curiosity and daring to go beyond is what makes these people (artists) unique.
"We as New Media students think we are being forced to use a certain program or tool, which- yes we are, but we are forgetting the lesson; and that is to adapt to whatever medium."
I couldn't agree with your more Stephen. We need to understand we're just being given the tools to create, not the creativity itself, nor the piece of software that we will understand best. Personally, when I am asked to edit photos in Photoshop I shudder. I use iPhoto more than anything because I click on the edit button and I can get all the saturation, hue, and contrast all in one panel. Call me lazy, but I'm perfectly happy with my results.
To talk about what Ilan said about art, and VJing, I think that what he said about a piece needing video is not completely correct, although I'd like to play with video during my concerts. I don't feel we need video in a concert setting. Music is still art, but you don't always need video. The performance is it's own visual aspect and if the musicians/performers are good enough, it can be more stunning than any visual piece. For example, one of the most energetic bands I've seen in the last couple years, is At The Drive-In (RIP). You couldn't keep those boys still if you nailed their feet to the ground. That compared to a band that just stands still.
Ilan also said early in the lecture, that he wanted to create art that was more like life. I am not sure if art should mimic life, or life should mimic art.
Quickly...
Da Vinci, Murakami. Big names. The latter being of our time. But Da Vinci. Was he indeed as well known as Murakami is today? And will his name survive the test of time? Sort of off the subject but something to think about.
My point was that both were ready to use whatever materials were available at the time to their own ends. And with great effect.
Second part about video being a requirement. That was a requirement set for the Mapping VJ Festival. Personally if I were to start a festival without any requirements other then 'hey... that looks like fun... lets put that together with something else that we like and have a show.' But then from a 'marketing' point of view we would lose the VJ token that appears to be the calling card that draws public attention. And in this case... your attention. Kind of like the delicious term 'New Media.'
I guess it would be more like what Elsa Vieira and Ana Karvalho are doing with Arbertura in Lisbon.
Art and life are intertwined. The only thing that draws the line is the one each person makes. Drawing the line is shooting something on film or rendering it on paper. It is where the interpretation begins. What I meant to say was that in my work I like the moment of creation to be alive or 'lifelike.'
I like being able to make something on the spot, modify it and then erase it so that the act of creation only implies permanence as opposed to the permanent implied permanence of a video clip preserved for posterity and played over and over again. Although that depends on a lot of things. The performance of Rafaël was probably the most intense and inspiring work and never mind what he used to do it and the fact that there were only 15 people in the audience.
Lastly... I am really impressed with you analysis. Thank you for taking the time to see/listen to the interview.
First Ilan, thank you very much for taking not only your time to speak with Raph for the iPodU course, but also the time to review the blogs and comment; it really is appreciated.
I do think of todays renowned artists and wonder if the significance of their work will be admired years to come. Did admirers of DaVinci's understand or take the time to reflect i nthe significance of his work? Was it significant decades later? We can only speculate based on comparing the artists who may be the a 21st century DaVinci. Interesting point you made.
Another interesting point you made, Ilan, is that art and life are intertwined and the individual can only draw that line. Yes, drawing the line is the medium and the medium can steer the interpretation.
I find that "in the moment" creation a very intriguing and organic process. The audience is to Vj's as alcohol was to Jackson Pollack, although I am sure the Vj has a more conscious decision making process.
But what I am trying to say is that the audience is actively participating in the creation of art- which makes it incredibly surreal and amazing.
Correct me if I am misinterpreting.
Thank you Ilan!
To follow up with what a lot was said by Ilan, I totally agree that we as artist are having our sight stolen from us, and that it is hard to not be influenced by other peoples art, in the sense that we take away something from it. When you look at a piece and see something in it that relates to someone else’s art you think to your self, now how is that original, I think that part of the problem is that we do live in a world of a remix culture, its hard to escape the arms of the world without becoming lost.
There were a lot of things that were brought up in the conversation that seemed to be very interesting to me; one of the first things was how Ilan spoke about the lights of the projector. I could see exactly what he was saying and describing, and it seems to be a beautiful thing, not just in the sense that the imagery is beautiful, but the idea of seeing a drawing or painting in light and pure in form, seeing colors change in the air with no exact meaning other than the pure relationship to the music, or the sound.
I agree with Rpah when he talked about using modul8 as a way of editing, or sketching. I took his summer course and it was an amazing eye opener to the world of Vjing, I found myself enthralled with the tools, both the hardware and the software. For me modul8 is perfect, and I found that I was able to do just about anything in it. Since the class, I have done a couple of gigs around the area, and likely to continue to use the software and advance my technique and find my own way of using the software. I now use the software once I a while to help me create interesting videos for my projects in classes, using the falters and controls to give some parts of them a unique feeling, I cross between modul8 and AE, and tie the two together creating a dynamic feeling to a lot of my stuff.
I found that the lecture over all was a great way to introduce to people what someone out in the world using this software is like, and how they feel about the tool they are using. Another interesting thing that came up in the interview was how Ilan was talking about the I chat video recording and how by seeing yourself and the others its like Warhals portraits of people who would be seeing themselves as he worked, and as they saw themselves they just began to disintegrate. The idea is beyond elegant, it is so true, and it’s also a commentary on how narcissistic our society is. Everything we do seems to revolve around the individual, and the image of the individual, not just the physical image, but also in everything that the individual stands for, what they really do for work, the things they produce, even if all they produce is waste and are just a consumer, that entire entity seems to be dedicated to feeding the self absorbed individual. It is important not to understand yourself before creating work, and it is even more important to find yourself by doing your work, in the sense that you need to make the journey to finding your path by doing the work you want to produce, but not to be too distant from who you truly are, and to keep a constant understanding of what things make you the artist the person you are, yes you will change, so yes your work will change, the important thing to remember is to like Ilan said, to keep true to yourself.
I particularly liked this lecture because I was familiar with the program in which Raph and Katin were talking about. While Katin described how he tried other things before coming to "VJ-ing" it made me think about what he said about "finding your voice." I don't think finding your voice necessarily has to do with finding the right technology, but actually finding out a way to use the technology in a way that interests you and helps express your inner voice as an artist. Modul8 has many different uses and effects you can apply to video but painting, as Katin does, was a use I was unaware of. I like how katin uses a program in a way that was not the programs main use, but that use helped him find his inner voice and expressions. Just to note on painting in modul8, I liked how katin said how live the video is and how that in itself is an art form that is very powerful, and power is something that anyone would be attracted to.
After mentally reflecting on my own art which consists mostly of video/film, I'll have to agree with Ilan in that it is extremely difficult to not be influenced by other peoples art. I found that most of my movies I've made have come from other people's ideas. Right down to applying simple certain effects to the credits, I often see an example that I like somewheres else and then collaborate it with my own imagination. I don't claim that the final product that comes from this is 100% original because it has indeed been influenced by other peoples art and styles. I often wonder of the type of movie I would make if I had never seen a movie before and thus not being able to be influenced by other peoples art.
Neil... I find it is really difficult to not draw like my mom. Sometimes I don't but very often when I am just sketching a face while on the train her style surfaces almost immediately and I am not really consciously trying to invoke it. Strange. Not a bad thing either but if I am going to draw differently I have to make a conscious effort to do so.
Bottom line is the concept of 100% original is false. My guess is it's just how old information is decontextualized.
I have always been fascinated by people who perpetuate genres. People who take up being a Punk even though the initial impetus that created it is long gone. I will make a controversial statement that looking at a Punk today for me must have felt like what some people might have thought about someone who was following Jesus 100 years after his death. To cover my butt I would like to point out that I look at contemporary Punks with reverence. I admire the attitude. Same goes for goth kids. All of them are on a journey. Most will eventually discard the look when they discover that what they are expressing externally can be cultivated within and more easily communicated without the gear. But that is changing as more and more people become Punks or Goths and sooner or later you can work in full regalia at McDonalds. Not that you would necessarily want to do that.
Ilan-
While typing my previous post I was forced to play with the mental realization that most...if not all of my ideas/pieces etc. are all influenced by others. I'll have to agree with you that the concept of 100% original is indeed false...in today's society that is. I only say that because i often think, was there ever a time where there was something 100% original? The first thing that comes to my mind would be cave paintings. Were these cavemen, obviously without the mental ability to distinguish art, who were making marks on a cave wall which simply resembled their memory of hunting, gathering, and explorations, creating that of something that has never been done before, 100% original? Just a crazy thought from my crazy mind...
Piggybacking on something Stephen was talking about in relation to Ilan changing mediums -- I wonder what the next medium will be where people put down photoshop and after effects and say "HEY NEW MEDIUM". If you want to analyze a lot of new media art, processes with computers are heavily involved. Therefore, the main medium is the computer (which could be broken down into video, internet, etc.. but for the purpose of this posting i'll say computer). Digital technology is always being manipulated to create art. People hack every new product as it comes into the market, as well as use those same products experimentally. Although the results are normally new and interesting, I wonder when there will be a giant shift in the way we process culture because I think that will be a true medium shift.
I battle with the artistic perceptions of new media at times. As Ilan said -- having a history in painting and other arts has helped him develop skills for computer art. I have taken art and art history classes, and I really do not cross-apply the concepts. I am really no good at traditional art - painting, drawing, etc. I really suck at it really. I remember sophomore year when Raph would always say "take tons of art history classes". I took Art History, got an A, and did not learn anything valuable specifically for my work in new media (i find that sociology helps me more in new media). I think for a lot of people the concepts can cross-apply, but I am strongly irked when traditional artists use their background in "traditional fine art" to put down new media art. In a generation or two, new media art is going to be more mainstreamed than traditional art (though I don't think it will die - and if it ever does it will be a long time from now). There are more VJs, new media exhibitions, etc, so in the future those skills will not have been taught anyways. I think some people are just resistant to change, which makes sense, but even here at Umaine, there seems to be a huge gap and tension between the traditional artists and the new media artists. I have seen this, friends of mine in both art and new media have seen this. It's rather quite ironic that art and new media are supposed to function so well together, yet there are these superiority complexes (in both fields)
Than being said, there are useful skills to be learned everywhere. Like I said I use sociology a lot of times in art (my final project for example). I think the message within art is more powerful and authentic than anything else. Of course, you need good skills in order to create these projects, so one should never stop learning whether it be in art, new media, sociology, or philosophy.
Although I feel very strongly that mediums are very important and should be chosen very carefully and almost as powerful as the message itself -- mediums do change. Like Kory said, there needs to be an adaptation, but in some senses once old mediums die, they once again become new. Hypothetically, in 200 years painting is no longer a medium. In classes students learn about this medium that was "PAINING!". Some students are interested and play around with pigments and DIGITAL BRUSH. Long story short -- they recreate the medium. Although mediums relate on a popularity scale, they can never truly die if people love them. There are still tons of people using film cameras because of the process, and though it is older (and a lot of people have "adapted" to the new medium) -- you should do what you love regardless. Supplying this love may become more difficult, but it will also allow you to fully push the medium!!
Hello again,
Neil, not a crazy thought at all. To this day nobody knows exactly what kind of cocktails and cheese were being served at the 'openings' at those caves. The best we have is Mel Brooks re-enactment from History Of The World Part I.
Matthew, the next 'hey new medium' will be biotech. If you think life is surreal now imagine how all those crazy characters people are drawing now will start to manifest themselves as living organisms that you can procure in your back yard? Are we in big trouble? You bet.
Speculation on my part. Oh well.
There are always gaps and boundaries between people. It is the mental condition of human beings to do so. I like that you are more inspired by sociology. As someone who works with video stuff I am usually most inspired by human beings. More recently I have taken an interest in logging in my mind scenarios that I see unfolding on the street. The dynamics between the different people I interact with on a daily basis. In other words I am more interested in stuff that is not art. In fact most of the artists I have met, despite being completely absorbed in becoming an artist, spend a lot of their time observing life. Their job being to frame it and in some instances sell their interpretation of it.
Part of my joy in being involved with the Mapping is that I am part of group of people who are trying to create an experience that is larger then ourselves.
Politics is similar but the stakes are much higher.
It's about the frame. In this day and age the constraints of that frame are (or can be) anything within the minds eye.
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