strokes through the screens: New Media Art Digital Portfolio

HUM 102 BC3L

Czerah Jade Maycacayan

strokes through the screens

NEW MEDIA ART looking through the digital looking glass

prelude

DIGITAL REFLECTION For the longest time, I have been carrying a dream of being skilled in the arts. It does not necessarily have to be my profession in the course of time, but I want to be able to skillfully sketch, paint, write, or materialize into something I can call an art piece the certain memories I wish to keep alive. However, I am afraid of ruining the blank canvas, so I hesitate to try making art all the time.

Recently, I decided to perform my interests with intent. My first read of HUM 102’s syllabus left me the impression that this course will make me challenge my fear of the empty paper, and that it will also grant me diverse and critical insights into new media art. At the same time, I expect to explore and learn various ways new media art can be made. I expect that through this course, I can create more things without being so doubtful at the start.

I did a collage for it is one of the hobbies I have recently hoarded. In my collage, my long-cherished dream is represented by Yu Aoi, the actress who played the character, Hagu, in the live-action film of my comfort anime, Honey and Clover. For me, she is like my first impression and expectations of this course – both intimidating and welcoming.

There is some kind of pressure about being able to produce great creative works which intimidates me.

At the same time, it also welcomes me in a sense that HUM 102 will serve as my avenue to grow my art skills and learn new perspectives regarding this field. I also placed some elements that are typically used in vintage junk journals since it is one of my preferred aesthetics. The journal style also signifies one of my main motivations for pursuing art, which is to be able to turn dear memories into souvenirs.

study guide one.

ART OF TIMES infographics

In creating my infographic about New Media Art, I utilized the style of a digital collage by using Canva. From the readings, I have learned that there are Dadaist styles that resurface with New Media Art. Some of these styles are readymade, political actions, performance, photomontage, and collage. This piqued my interest as I have been recently interested in making digital collages and made me realize as well that I have actually been participating in the New Media Art movement. Since I already had some experience in making collages, I decided to use it as my concept so that it will be easier for me to convey my ideas articulately and artistically.

My collage is mainly a journal-style collage, with paper elements and magazine cut-outs. I used various bright colors that I think complement each other well. I also included photos or “cut-outs” of images that are related to new media art. For instance, the vintage computer reflects my understanding that new media art flourished mainly because of the Internet and new technologies. Another image I included is a PNG of a pen tablet, a device used for digital illustrations. I used the picture of a smartphone to convey how these devices and the Internet makes it possible for new media artists to create, share, and access art and resources conveniently, as well as collaborate with other artists beyond geographic bounds.

Overall, I believe I was able to layout the ideas and concepts regarding New Media Art and its development. It discusses what caused the New Media Art movement to emerge, as well as the motivations that the artists had when creating art. It also tackles how to differentiate new media art from other forms by defining the artistic practices that artists incorporate. It also mentions several pieces of new media art, including website art, video art, and digital art. All of these art pieces illuminate various issues or ideas in society as well.

concept map

study guide two.

In understanding Generative Art, it is important to recognize not just what Generative Art Theory entails, but also how it relates to other theories in New Media Art as well. This is significant because defining art had always been a controversial topic, making it difficult to perfectly define New Media Art and the styles under its umbrella. Therefore, Generative Art is best described through the theories that it encompasses.

To start, New Media Art is situated in the concept map of Generative Art because it is the broader spectrum of art practice wherein the work of art is created, modified, and delivered through the technologies that are presently emerging. Generative Art is a more specific method through which new media artists can produce their pieces. Under Generative Art, “Complex Systems” is placed in the concept map, which is the principle to which generative art is guided by. Some complex systems are fractals and Lindenmayer systems which both produce patterns that are not repetitive predictably. Both create abstract patterns that can be used to simulate objects from nature.

Fractals and Lindenmayer systems are therefore characterized by the principles of complex systems. They are random, self-organizing systems that are highly adaptive and revolutionary, which the key elements of complex systems. Other theories are related to generative art for they have similarities in the principles that they support.

Heterotopia by Michael Foucault features new places that are linked simultaneously without a semblance of structure to organize the elements. Artworks of heterotopia have a seemingly systemic place but at the same time, are abstract and vague. Systems Art is a tool that is used to analyze New Media Art. Since Generative Art is guided by the principle of complex systems, systems art theory is significant to the former. Systems art theory presents the workings of arranging standard elements into a systemic formation, thus making it possible to understand generative art’s processes since it utilizes systems to create art on its own. Lastly, Process Art mainly focuses on the process of how the art was created, the performance before the end product. It is also concerned with patterning, which the other theories including Generative artists employ.

In my Time Magazine self-portrait, I drew myself digitally using the software Paint Tool SAI and a pen tablet with a stylus. Around my drawing are my pictures of me dancing. The drawing and the dance photos represent how I am striving for creativity this year. Doing art is something I encourage people to try for it is a great way to keep in touch with our emotions and thoughts whilst getting a sense of fulfillment. For me, art is one’s workout towards a fit mind, and consequently, a healthy body.

study guide three.

DIGITAL ART

With all these, I am the Person of the Year for Time Magazine since I advocate for mental health, specifically how we could help ourselves get back up from the anxiety-filled and confidencedepreciating time of COVID-19. Now that the world seems like it’s going back to the reality where the company of others is no more harmful, it may still be difficult for others, like me, to adjust again to a new life set-up.

Many of us may still be grieving, from the loved ones, dreams, passion, confidence, and motivation in life that we have lost. As a social media influencer, I advocate for a healthy way to recover from the dreadful two years (and maybe even more) of COVID19. I use my platform to my audience how we can treat ourselves with kindness and remind ourselves that we experienced a really difficult time and that it is okay to struggle for now.

multimedia art

Poetry, including songs, also offers me deep insights into my feelings as well. The elements I placed in my digital collage are heavily prompted by my favorite poem by Mary Oliver entitled “October.” Specifically, these lines from the poem sent me the shivers: “from the pond; I won’t name the birds or the trees; / I won’t whisper my own name. / One morning / the fox came down the hill, glittering and confident–” Personally, there’s a lot to unpack in these lines on what they mean for me. But I placed the images of the pond, fox, and trees so I could represent my feelings.

Whenever I reflect upon myself, I like to ponder on this poem, so I think putting a piece of my favorite lines in my art represents me.

When I was brainstorming for this art piece, the song I could not stop listening to was Mitski’s “Nobody.” The text that says “Venus, planet of love / was destroyed by global warming / did its people want too much, too?” represents my current feelings on grieving. After having lost my father last year, I naturally went through the process of grieving. After a few months, I was ready to reconnect with my loved ones again, but I feel like it had become difficult to do so since I lost contact with them for a while. I realized how if we were not in a pandemic, I could have grieved in a much better way, deriving strength from my support system without being anxious.

But because of our setup, I felt like the world is demanding too much of me by just exchanging how are you’s with my friends.

In connection with that, my sister is also included in my art to represent me and everyone else that is grieving. My sister is looking out from the window, and outside, she quietly gazes upon the starlit night sky whilst the planet Venus looks back at her. There are also some bubbles, trees, flowers, a road, a pond, and a fox in her view. This is my interpretation of grief. Grieving is silent and vast. Some days everything is simple to look at and easy to take in, but sometimes the same things are too much to even think about. But what matters is that we continuously go on even with an empty place in our hearts that seems like we won’t ever refill. Instead, the love we experience after our loss surrounds that space. Even though the emptiness remains, the love around it compensates.

After this activity, I have realized how significant of a matter it is to have access to tools and software that we could use to create multimedia art like this. Multimedia art offers intellect and growth, in ourselves and society. We have more options for expressing and sharing ourselves, offering more space for learning and connections.

study guide three.

One of the ways I face my grief is through art. Usually, I would dance, journal, craft, or edit a piece that I could place my feelings on. Recently, I encountered Amédée Guillemin’s illustrations from their book, “The Heavens: An Illustrated Handbook of Popular Astronomy,” whose art style inspired me. This is also the reason why I immediately thought of creating something space-themed to work on for this digital collage art assignment. The artworks in the book resonated with my emotions at the time, so I was able to channel my thoughts and my artistry at the same time.

study guide three.

interactive art

My Babaylan art filter can be accessed through Instagram and Facebook, available both for sharing or stories and video calls. It features three different tattoo art inspired by the Philippine culture and traditions. Upon usage, there will be a tattoo on the person’s forehead, kind of like a headdress which features icons and lines that symbolize our identity as a nation. On the left side of the person’s face, an illustration of the sun is painted under their eye. On the right side, a tattoo inspired by the Kalinga tattoo of the artist, Apo WhangOd, is illustrated. In making this happen, I used the software Paint Tool SAI to digitally draw the tattoos, as well as Spark AR to program my design responsively into a human face.

Reflecting on my audiences' responses, I realized how the role of the Internet and social media platforms had made it possible for even children to understand my art easier. Without my audience, my art filter could have already lost its purpose as it is presented with an intent to be used or interacted upon. The ideas and feelings I poured into my art will not be recognized without them. I realized interactive artworks can be admired and enjoyed by many people around the world without the bounds of distance, language, and a pandemic.

Kyla shared how my illustrations on the tattoos represent the lifestyle of the Filipinos. The sun has always been one of the symbols of our country, as seen in our flag, festival costumes, and pageant accessories. It also represents our resilience according to her, as we would always try to brave our challenges and welcome them every day while valorously facing them. She also noticed the ocean waves-like illustrations in my art.

She described how important the industry of marine and fisheries is for our livelihood and lifestyles. We are also home to beautiful bodies of water that we take pride in.

Kim first looked into how I presented my interactive art, which is through a social media filter. She was fascinated by how I was able to share an artwork that features indigenous tattoo art through a popular medium since more people can access and appreciate pieces like mine. She emphasized how integral the role of the Internet is, especially for sharing artworks that are interactive.

Unlike traditional interactive where mostly physical or close interaction is needed, presenting the piece as an Instagram filter paves the way for artists to let the audience experience the art virtually.

Just like kids her age nowadays, Jane uses the apps TikTok and Instagram a lot while actively using most of the apps’ features including filters.

Although she is still young, I wanted to know her insights and perspective on my art and how I presented it. Jane shared that she sees our country, the Philippines, in my illustrations. She also admired how she can experience a tattoo similar to Apo Whang Od’s, especially since she once shared would like to be tatted by her someday. She also described her interest in indigenous groups in the Philippines, in which my filter helped her get an idea of their lifestyle and culture since visiting them physically is still a lot of work during the pandemic.

study guide four.

NEW WAYS OLD DEBATES

study guide four.

Aestheticism and Moralism

Precisely like what the reading stated, moralism and aestheticism are the extreme stances of both sides. Moralism posits that the artist of a particular work of art creates must be subjected to the ideas and customs appropriate to institutions. Otherwise, if it questions and does not adhere to what is considered acceptable morally, religiously, or politically, the art is viewed as “insidious and subversive,” for it negatively influences the youth in their formative years. On the other hand, aestheticism values the intense and pervasive experience that a human being can feel whilst looking, feeling, or hearing an artwork. The cardinal purpose of art is to let its viewers appreciate it for its beauty or aesthetic values alone, without much concern if it follows or defies morality or sociopolitical themes.

Aestheticism in New Media Art

In the twenty-first century in which the digital, multimedia and interactive art forms materialize in various blends of media or artworks, the notion of aestheticism is not that great of a concern now. New media art emphasizes various themes regarding society as the method of presenting these artworks is through platforms used by the masses. The artworks under new media are not made to be looked at in a linear fashion – the audience, especially with the Internet in mind, now has the authority to experience the artworks in whichever way they desire.

Traditional vs New Media

Traditional art leans more on heterogeneity while new media is on homogeneity. This means that traditional art is usually presented through the means of one medium – dance by dancers’ movements, music by instruments. However, new media art could blend and generate techniques which therefore offers a wider range of possibilities for artworks. Music, videos, and texts could even be put together. In terms of spectators, traditional art has passive audiences. They could only look at the art pieces and appreciate their beauty within the bounds of what they knew about them. On the other hand, new media art has audiences that are both creators and receivers. Due to the transmission of art digitally, the communication of art becomes two-way. Therefore, what makes the two forms of art different is their manner of existence and form. Traditional art is usually surrounded by various categories and standards, while new media art gives independence to the artists and receivers in terms of ideas, medium, and feedback among other things.

NEW WAYS OLD DEBATES discussion boards

In the text, it was stated that “Everybody is possible to become an artist. ‘Artist’ is simply a social character.” (452) This becomes possible since the restrictions on traditional artists like privilege on education, talent, and money do not hold back new media artists. Everyone could gain fame by sharing their work digitally for everybody has the opportunity to share their works. Access to art tools, education, and audiences become available to everyone, thus opening the possibility to all to become artists.

study guide four.

In new media art, why is it possible for everyone to become an artist?

Can one label himself as a true artist in New Media Art?

It is not how new media art had encouraged the idea that everyone could be an artist without any formal background in art. In traditional art, this notion simply became eclipsed – the possibility of everyone becoming an artist was simply restricted. With countless art movements that had emerged throughout the centuries, it becomes even a difficult task to define art and what is considered aesthetic. Learning the technicalities in art does indeed help an artist grow. However, I believe that when it comes to art – be it visual, performing, or digital – it is experience and time of practice that really matures the artist. Especially now that one could learn a great deal of knowledge on art by joining art communities online. The opportunities for sharing your art and receiving feedback on them is endless with the emergence of the digital age. Therefore, one could identify himself as a “true” artist even without undergoing formal education in their field.

“True,” in this sense, is indeed not equated with “professional.”

A true artist is someone dedicated and passionate about their craft, therefore, producing aesthetic works.

NEW WAYS OLD DEBATES discussion boards

study guide four.

Appropriating Art in the Digital Era: Kind of Screwed & NFTs As a graphic designer, reading Andy Baio’s story and Judy Kirpich’s commentary on it immediately made me hyperaware of the elements I use in my art. Kirpich was right, the generation I’m part of is not sufficiently educated on matters concerning copyright and fair use. If something is uploaded for the public to see, there’s already unwritten permission to use them however they please. I have partnered with some printing shops before when I used to sell merchandise featuring my designs. It had always worried me how they could just secretly reprint my designs if they want to since they have access to the original and high resolutions copies of my works. Even as a younger artist myself, I was not knowledgeable about how I could protect myself from being taken advantage of.

From the articles and my experience, I realized that in the age of a digital world, being explicit is important. Inserting disclaimers, permissions, excerpts of acts and laws, citations, and such is important. Though it may seem like it was the rightful and natural thing to do, as time passes by, the significance of a few words crediting original artists alarmingly starts to fade. Baio was valid in his assertion on his pixel remake of Maisel’s image is under fair use.

After all, the line on what appropriation is protected under this law keeps on blurring through generations. Maisel, coming from a harsh battle on photographers’ rights during his time, was understandable in his insistence on Andy’s copyright infringement. However, all this fuss would not have happened if Baio reached out to Maisel in the first place. This reflects how music theft is given more awareness than the issues of copyright when it comes to images.

Today, NFTs or Non-Fungible Tokens are gaining popularity among cryptocurrency-geeks and even artists of all sorts. An artist could sell the “ownership” of their work called NFT which is purely digital. If I were to buy an NFT, essentially, I bought the ownership of it – I could display it on my profile for all the other NFT-people to see, and perhaps admire how I bought it for thousands of dollars. I did not pay a hefty amount to download the original copy of the art – the art can also be downloaded, copied, pasted, and reuploaded, among many other things by other people who could see the work. NBA actually sells clips of basketball players dunking a ball into the basket for hundreds of thousands. The videos were already accessible to everyone as they were posted on their social media. If one is to buy those videos, they do not get taken down to restrict viewing. They just label the buyer as the owner on the blockchain.

This poses a dangerous threat to the rights of artists who share their art publicly online. Someone could just download their work, reupload it on the NFT place on the internet, and sell it as their own for an absurd amount, especially since everyone could go in disguise behind a username online Indeed, there will be a redefinition of art appropriation just like what Kirpich concluded, as more methods of creating, sharing, viewing and buying art emerge.

NEW WAYS OLD DEBATES reaction paper

why is net art so difficult to define?

according to the german critic Tilman Baumgärtel, what are the six distinct features of net art?

The six definite features of Net Art include “connectivity, global reach, multimediality, immateriality, interactivity, and equality,” as professed by Tilman Baumgärtel. Net art relies on connectivity for one must first be connected to other people, on global reach, through their devices’ screens and the Internet.

The possibilities of Net art also expand with the Internet’s ability to multiple literacies in one medium, such as photos, videos, texts, and sounds, in a single webpage, though all of which are immaterial – existing in virtual spaces, in the clouds of the Internet. Interactivity and equality are essentially included in Net art’s distinct features. One must click, navigate, and even input things in Net art in order to commence the art itself.

study guide five.

Detailing what Net Art means is a difficult task due to the Internet and the possibilities of art on it are so vast. First, Net Art could refer to artworks featuring codes, browsers, algorithms, and such.

But it could be produced with the aid of external tools as well. The aesthetic of the movement’s elements, such as scripts and codes, could also be another delicate matter to agree on by artists and audiences.

However, since it was inevitable for Net artworks to emerge with the digitalization of the art world, the movement’s defining traits include being processoriented, interactive, and transitory.

study guide five.

Net Art pieces that made the most impact on me.

“My Boyfriend Came Back from the War” (1996) by Lialina The first Net Art that fascinated me in the article was Olia Lialina,’s “My Boyfriend Came Back from the War” (1996). Firstly, the duotone figures and faces inserted in her art were captivating. The style and colors already foreshadow what was about to happen in the art. Second, the art tells an endless story – literally a story without a definite ending among the tragic ends we could arrive at. It became endless due to its interactive feature. We, the audience do not just absorb the sequence of the plot as we do with films and novels – we are in the power of what will specifically happen to the story. Even though we could decide the course of the events, we end up with a common conclusion – we wouldn’t be able to reach a happy one.

"Last Words" by Kazemi The other piece I liked was Darius Kazemi’s “Last Words.” I love how it centers on the word “love” surrounded by the themes of prison, death, and injustice.

With this simple move, the message against capital punishment becomes a bold and strong protest.

The injustice the row inmates faced was also emphasized with the nature of it being a Net art. It felt more intimate when a message appears for a brief moment until it changes to another transitory phrase that perhaps used to be someone’s cry of love, despair, and hope for life.

advocacy art

stu dy gu id e fiv e.

lag e, tell s tha t My adv oca cy art , a mu ltim edi a col tho log y and the sig nif ica nce of Phi lip pin e my st be giv en tra dit ion al bel ief s and ritu als mu tin g the m int o suf fic ien t im por tan ce by inc orp ora den ts. the cur ric ulu m of the Fil ipi no stu den t by an ope n In my art pie ce, the re sta nds a stu the my stic doo r tha t lea ds to a wo rld of atu res and Phi lip pin es. Var iou s Fil ipi no cre ies we lco me log fig ure s fro m fol klo re and my tho tre e fra mi ng ete bal a re's the , stly the stu den t. Fir it is a the pat h fur the r. Hov eri ng abo veroa mi ng is ma nan agg al, wh ile a tik bal ang is gui ded by d roa The e. sid er oth aro un d on the Ifu gao . At the ani tos or bul ul, the ric e dei ties of mo un tai n can ing end of the pat h, the Ma ria Ma kil sha rk or pat ing ing fly a ich wh be rea che d, in en nig htf all pak pak an sur vey s its hei ght s. Whand trie s to com es, the bak un aw a em erg es The se are jus t con sum e the illu mi nat ing mo on. dei ties of som e my tho log ica l cre atu res and Phi lip pin e of var iou s trib es am ong the vas tne ssd cre atu res tha t cte sele I s. ion dit tra my tho log y and res ent the go we ll wit h my art 's the me to rep the me . ste rn lite rat ure My art tell s us tha t as mu ch as we ive ly in our and my tho log y are stu die d ext ens e lite rat ure mu st edu cat ion al pro gra ms , Phi lip pin e im por tan ce. als o be dis cus sed wit h the sam my tho log y Me rel y giv ing int rod uct ion s to our s not giv e doe es bef ore mo vin g on to for eig n cul tur ica nce of our jus tice to the ric hn ess and sig nifma gic al sto rie s t ori gin al sto rie s. The y are not jus id goi ng out at avo to en ldr chi tell and tal es to tra dit ion s nig ht. Ou r my thi cal cre atu res and ide nti ty and e alw ays car ry wit h the m our cul tur as Fil ipi nos .

Czerah Jade Maycacayan

HUM 102 BC3L

fin.

NEW MEDIA ART looking through the digital looking glass