For each group
QUESTION on page 12(p 7)
In the wake of 9/11 (or other mass murders, take your pick), are video games too real? Or is the real converging with simulation? Please discuss.
Game and net:
Show documentation of this (a few minutes) and comment on it.
Natalie Bookchin's The Intruder
Collaborations and interactive
see listing of groups that critique corporate protections and identities. (p12 or 7 in pdf document) Look one up and present them to us.
Bureau of Inverse Technology, Fakeshop, Institute for Applied Autonomy,
Explain interactive work. What is meant by “requires participation vs. participation as part of work. (p 8 of reading or #13 in book)
Some new media work requires participation, while other uses participation as part of the work.
Show two examples that illustrate this difference.
Golan Levin et al's Dialtones: A Te/esymphony,
Olla Lialina's My Boyfriend Came Back From the
APPROPRIATION = open sources Group 2
Present Michael Mandiberg (after Sherrie Levine)
What is this a reaction to?
What do you think of this?
Present this and discuss:
Examples of this approach include Cory Arcangel's
Super Mario Clouds,
See list of artists that follows Michael Mandiberg. Mention these:
Cory Arcangel's Super Mario Clouds, RSG's Carnivore, Raqs Media Collective's OPUS, 0100101110101101.0RG's Life Sharing and radioq u a Ii a 's Free Radio Linux.
Laws of intellectual property became stricter, which lead to open source software. Why would you do this? (motivation?)
HACKING, part 1 (group 2)
New Media artists to produce online presence that convincingly mimicked the aesthetics and rhetoric of corporate sites, complete with logos, brand names and slogans.
Show the Yes Men video
info on it:
HACKING, part 2 (group 3)
What is Hacktivism
What is the “hacker ethic” and how does it relate to art?
Discuss Cornelia Sollfrank
Interventions (Group 3)
What makes the internet an attractive place for artists?
Note this quote:
“Part of the appeal of this space is that it is outside the museum-gallery complex, and thus gives artists access to a broad, non-art audience”
What is important about being outside of a museum?
Give 1-2 examples of “artist intervention” from page 18 (in text) or 13 from pdf document
Identity (p 14 in pdf) (Group 4)
Define how the book talks about Identity and give 1-2 examples (look them up)
Telepresence and surveillance(group 4)
Define both of these terms and give 1-2 examples from the book (look them up)
Elaborate on “gift economy” and what you think about it.
Collecting and preserving New Media art (group 4)
How do you commodify new media art? Does it matter? What are your opinions on it?
How do you preserve new media art? How is that similar to other art forms? Explain examples of how to deal with the comodification and the preservation of it. What ideas do you have?
At the time of writing, it remains unclear whether New Media art has run its course as a movement.
What does this mean and what are your thoughts about this, has new media run its course?