With the final project did two practices which are photoshop and video. I enjoyed both of them. At end, I chose post my poster for my final project, because I believe that I have a lot of works have to utilize Photoshop . I chose two photos for this poster. Using layer, effect, and letters to create this poster. I felt well.
With this project, I am able to use Final Cut Pro to save, cut, edit a video, and I am also able to apply skills of video techniques. At the end, I can utilize element and design principles to create a video.
Following the requirements of this project, I chose different style videos from internet that seemed to interact well to do a lot of practices. During the creative process, I organized two videos to interactive and paid close attention in creating and organizing images, rhythm, colors, and effect.
Over the course of this project, I successfully used the elements of shape, rhythm, color, and movement. I successfully used the principles of variety, emphasis, and unity. In order to improve, I want to learn more about how to effectively apply video techniques into the artwork.
Mark Napier is an American digital artist. He is recognized as one of the first to explore the potential of the Internet as a space for public art. He explored the networked software environment, creating work that challenged the definition of the art object.
Mark Napier was born in Springfield, New Jersey in 1961. He graduated in 1984 with a bachelor’s degree in Fine Arts from Syracuse University. He is an early pioneer of Net Art in the United States and is known for creating interactive online artwork that has challenged traditional definitions of art.
Mark Napier’s digital artwork is inspired by pop art and pop culture symbols. In the period following 2003, Napier explores a more private side of software, making meditative pieces and drawing on the history of painting for inspiration.
His art style can be described as abstract expressionist painting or meditative color. His art often appropriates network property, using it as raw materialnto create websites, flags, and images and also in his digital action paintings. Mark Napier always utilizes the technology of digital art like the tools of painting. He believes that computer code is like paint and brushes. He said, “We don’t revere Picasso’s paint brushes, though I’m sure somebody owns a few, and could sell them for a nice price.” Napier collaborated on his first website and began several experiments with hypertext in which he explored juxtaposing meanings and pop culture symbols. In 1997, Napier opened potatoland.org, an online studio for interactive work where he explored software as an art medium.
Mark Napier’s digital artwork is always conceptually and visually stimulating. His artwork exhibits the aesthetics of layers of output text and graphics. He created the artwork to be variable, somewhat random, while retaining a structure that would create a visual balance and flow.
He enjoys the visual quality of graphics on the computer screen, the luminosity of colors, the hard edges and the atmospheric blurs that come from distorted and pixelated computer graphics. He believes that the two media, kinds of paint and digital art, are completely different. Paint is a physical fluid that is directly controlled by hand. Software code is a language (of sorts) that is controlled through a computer interface. A painting is a static physical object. Software is more like a machine with moving parts, or a piece of music.
Mark Napier believes that the web interface has capabilities that go beyond painting. In net art, the artwork can move. It can change and evolve over time, which creates a whole other dimension to this art form that just doesn’t exist in painting. Napier always utilizes comparisons in creating images. He believes that, “Most often comparisons between net art and traditional media end up saying that net art is ‘better’ or ‘worse’ than traditional forms. Neither judgment makes sense .”
His artwork creates unusual effects that challenge assumptions about how the web works. Knowing how code works gives him access to more of what the medium has to offer. He always learns something new about how the technology works. He utilizes multiple methods to create digital arts. He believes that not all net art necessarily relies on coding and conceptual work can make a point just through html.
Mark Napier believes that code, “which humans can read and work with, is translated into binary, which the machine can execute. This translation is called compiling, or interpreting the code.” He also said, “The author keeps the code on his computer, and puts the binary file onto the web, where it can be retrieved and executed .”
Mark Napier’s projects began with an idea about the web. He added another dimension to the piece when the coding process creates other possibilities. He believes that the technology of memory and processing speed often limits the browser software. Other times, technology reveals possibilities. He found some software that suggests new ways of working with a problem. He believes that new technology makes art portable. He believes that utilizing digital art technology means that paintings can be carried from place to place, while being large and durable, but still lightweight. Images could be moved, and so could therefore change owners relatively easily.
Mark Napier believes that the Internet is an even better way to understand the medium of art. Much of a networked art piece may be invisible to the eye. He believes that the network is also a driving force.
Mark Napier’s Artworks
from: http://www.culturekitchen.com/people/mark_napier
Imaging Place
Smoke
Smoke
from: http://www.csuohio.edu/artgallery/2008-2009/digital/
Mark Napier, Sacred Code (Old Testament), 2003
from: http://www.we-make-money-not-art.com/archives/2009/04/kiosk-artifacts-of-a-postdigit.php
Upgrade! NY March 2002
What Are the Major Themes in Digital Art and Why?
The major themes in digital art which including: artificial life and intelligence; artificial intelligence and intelligent agents, telepresence and telerobotics, database aesthetics, mapping and data visualization, (net) activism and tactical media, gaming and narrative hypermedia environments, mobile and locative media, social networks, and virtual worlds. The idea of major themes in digital art that connections between remote locations or interacts with remote environments. These major themes focus to apply artistic strategies and technologies for visualizing spaces and fields.
1) Artificial Life
Artificial life is a field of study and an associated art form which examine systems related tolife, its processes and evolution through simulations using computer models, robotics, and biochemistry. There are three main kinds of artificial life, named for their approaches: soft, from software; hard, from hardware; and wet, from biochemistry. The digital computer relates the human and machine, and also relate a scientific manner. Internet technology has been increasingly developed nowadays, even the idea between human and machine has been researched and addressed for a long time. Computer has ability to calculate, manipulate, and respond to complex inputs by users. Artificial life provides a wide space for digital art to work on evolved and complex visual arts.
2) Artificial Intelligence and Intelligent Agent
Computing is an artificial intelligence. Computing is a new way of interaction between human and machine that becomes a broad area of research including sensor technology, networked communication, and wireless wearable technology. Artificial Intelligence is a strategic and analytical that has expertise in a specific area and is able to draw conclusions based on the knowledge.
Intelligent agent seem to be either hailed as the personal assistants that makes us smart or despised as the invaders who destroy our privacy and imagination (Christiane Paul, P150). Intelligent agent is a machine behavior that has already become a part of our lives when it comes to interaction with computers and online communication. Intelligent agent will have quite an impact on our culture and society.
3) Telepresence and Telerobotics
The networked digital technologies are known as telepresence and telematics. The theme in digital art is the idea of connections between remote locations or interacts with remote environments. The concept of telepresnece is obviously not only connected to digital technologies to any form of telecommunication- communication over a distance (from the Greek tele, meaning ‘far off’, ‘distance’ (Christiane Paul, P154). Telepresence Telerobotics is the area of robotics concerned with the control of robots from a distance, chiefly using wireless connections. Telerobotics as intelligent character is converted into digital signals and transmitted to the installation over the Internet.
4) Database Aesthetics
Database aesthetics examines the database as cultural and aesthetic form, explaining how artists have participated in network culture by creating data art. Artists have an essential role in influencing and critiquing the digitization of daily life.
5) Body and Identity
The body and identity have become prominent themes in the digital realm, centring on questions of how we define ourselves in virtual as well as networked physical space. Some artists are using this idea to “extend” their individual, physical “objects”.
6). Databases, Data visualization, and Mapping
The database provides visualization and analysis tools. Visualization is any technique for creating images, diagrams, or animations to communicate a message. Visualization through visual imagery has been an effective way to communicate both abstract and concrete ideas. A digital map has to respond constantly to changes in the data it represents. In the digital world, the space that are bring mapped can range from computer networks and internet itself as one vast communication territory to a specific database and data set or the process of networked communication.
Visualization
Mapping
#1 & #2 belong to Similarity. With #1 and #2 I utilized similar shapes to creative objects look similar to one another.
#3 Anomaly
#3 belong to anomaly.The figure in the middle is a big group which is a focal point and dissimilar to the other shapes around.
#4 Proximity
#4 belong to Proximity: one group. Utilizing squares to create unity.
#5 Continuation(Metamorphosis of Narcissus origainal by Dali)
#5 belong to Continuation. With #5 the object: fruits were compelled to move through light to right. The object from color changed to monochrome and continue to another similar object. At end changed the orientation.
#6 Proximity
#6 belong to Proximity: one group. All elements are placed close together. They tend to be perceived as a group
#7 Proximity
#7 belong to Proximity: one group. All elements are placed close together. They tend to be perceived as a group.
With this a group’s project we decided to create to save all things that don’t need to be saved. My assignment that to created one to save Mankind. So for my group’s project, I chosen something already happened, existed in the past, which we do not have power to save, or something around us we do not to save. Despite our topic which save all things that don’t need to be saved… On other hand, as to my personal viewpoint, for this project, I also want to show the mankind’ s nice aspect which we really need to save for the world, so I designed other poster which on the bottom. I used blue color for background, which symbolize peaceful.
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