One Nation Under CCTV is a graffiti artwork criticizing the use of surveillance by the government. It was created in 2007 and was located on Newman Street in London. It was created by London-based guerilla artist Banksy , whose identity remains unknown by the public in 2019. He is known for his satirical, dark, yet political grafitti artwork that he places throughout the world without notice. Banky's work suggests that we are controlled by surveillance and that everything that we do is watched or listened by somebody. Overtime, his artworks are often taken down by the government or destroyed by unknown sources.
In Josh Kline's Hope and Change (2015), a white boxed light illuminates the edges of a flat screen TV. In the video, an actor played the role of Barack Obama and Kline used a "facial substitution software" to reconstruct his face to look like the former president. The video is of the president's “inaugural speech” back in 2009 but with thought-provoking variations that were “written by the artist and one of the speechwriters” for Obama. We know it is just an animation – an avatar – but the duality it creates make us aware of the tension between the real and the virtual.
Artist Dries Depoorter’s Jaywalking is an interactive installation that displays live surveillance footage of streets in various countries. Surveillance webcams capture footage of crosswalks and identify jaywalkers. From the monitor, visitors are given a choice as to whether or not they want to press a button that emails screenshots to local police stations. The work thus presents audiences with a moral dilemma. The ensuing interactions convey a complete disconnect between the surveilled and the installation viewer in charge of their fate.
A Vancouver based artist who goes by the alias of iHeart, has gotten a lot of attention after Banksy, a famous street and graffiti artist, reposted his work on social media. The work in mention depicts a boy who is obviously distraught and weeping uncontrollably. However, what makes this work so interesting as well as places the work into the category of both culture jamming as well as post-internet art, is the little bits of aerosol paint that depicts the instagram logos that indicate the amount of likes, comments that a user has.
Martina Amati is a London-based artist and filmmaker that has worked with water as one of her main subjects. She developed the installation film “Under” with Kevin Fong, a scientist and a physiology professor at University College London.(1) She has various shots of people floating in water. She uses low frequency echoing sounds to create stability in the background and also to help enhance the spatial temporal depth of the film.(2) Amati uses the varying tones of blue to evoke a sense of calmness that amalgamates with both the ambient and manufactured sounds to reflect off each other a more profound sensation of surreal peace.
Floribots, a massive art piece created by Geoffrey Drake-Brockman in 2005, is essentially an array of 128 simple folding paper flowers that are mechanically controlled. Each large flower extends out of a rigid base, and is capable of mechanically "blooming" and extending higher. Operating under a collective "hive-mind," they are capable of reacting to movement stimulus and even has an array of different "moods" they can display through dynamic movement.
I Promise to Love You by Tracey Emin is a series of neon artworks, comprised of six written love messages animated on fifteen billboards in Times Square in February 2013., The glowing words slowly spell themselves out, as if being written by a ghost or an invisible presence, demonstrating the power of love.
Love is Alexander Milov's debut art piece for the Burning Man Festival. The sculpture calls into question how one is to truly"discover one's genuine self in a media-saturated world." Not only does the sculpture itself send a message to its audience, but the material that is used to create the sculpture is also part of the message as well.The outer figures represent the independence and solitude of adulthood. The rebar cages from which they are fashioned represents how society traps our inner selves. By contrast, the children trapped inside suggested the possibility of connection and illumination.
Aporia is a collection of installations by South Korean artist Lee Jung. Each of the installations consist of a sentence or phrase spelled out in neon against an empty, natural background. The word "aporia" comes from a Greek word meaning "dead end street" and the Oxford English Dictionary defines it as: "An irresolvable internal contradiction or logical disjunction in a text, argument, or theory." The name of the piece combined with the specific matter phrases suggests the artist's complex, if not conflicted, thoughts about the concept of love.
A computer program called (CAN) Creative Adversarial Network has been making creative works that are being compared with art made by human artists, and it is learning how to continue to improve its works by having people judge them and learning to judge them itself. If a computer can make art on its own will humans artists become obsolete?
Neil Harbisson is a cyborg artist based in New York City. He is described as a cyborg artist because his artwork his artwork is concerned with the concept of cyborgism but also because he himself is technically a cyborg. He has an antenna implant, which he calls "the Eyeborg." This device is implanted in his skull and was designed to extend the limitations of human color perception. Although he was born completely color blind, he can can now even see infrared and ultraviolet colors that are invisible to humans.
In April 2015, Nike released its revolutionary kinetic digital art project, Force of Nature, for the Nike Innovation Summit at Truman Brewery in London. The work was created in collaboration with Field, a London-based design studio. By stepping onto a treadmill and beginning to create movement, the participating runner is presented with a fluctuating shower of stunning, multicolored sparks, similar to an energy “mirror” of themselves, created by the movement put forth by him or her on the treadmill. The flux of lights is meant to imitate the runner’s motion and turn the human body into a digital art piece. . The work recalls earlier artworks, including Nancy Paterson's Bicycle TV (1989) and Jeffery Shaw's Legible City (1989-91), both of which used a bicycle as the interface by which the user's activity generates an animated video environment.
Digital art, as in the work of Robert Campbell (Red Forest, detail) and NoiseFold is achieving the plasticity of clay, paint on canvas, or even analog electronics. Several Currents 2015 participants have developed, or cobbled together, computer based tools which provide the robustness needed to dig in, explore, and experiment with contemporary new media materials and techniques. It's much like the shift from the brush of a Mannerist painter to the sponge of a Max Ernst frottage.Progress in the flexibility and robustness of digital instruments allow them to be treated as plastic media which may lead to fully collaborative human/machine systems. We can start to imagine an actual collaboration between humans and machines where, rather than participating in a one-way struggle, each contribute what they do best in a two-way dialog. And once these collaborative systems are established, their collective behavior will become more interesting than any particular 'finished work'.
Little red skiffs float on undulating waters along with armchairs, fully made beds, and spiraling severed horses' heads in the throbbing air. Three toy horses are posed on synthetic turf in a theatrically raked trapezoidal corral bordered by tiny rope footlights. No bridles or saddles are ever in view; these are wild horses temporarily and ever-so-lightly penned in by a white picket fence. Enclosed inside the skewed geometry and oblique angles the equine visitors—a palomino named Pal, a buckskin called Bonnie, and her sometimes partner, the black-coated Clyde—are here to entice playmates. Inside a bricolage gilt frame a ten-minute video containing all of these disparate constituents (and new characters too) offers a dream narrative of these fantastical beings, delighting in an idyll of grasslands and wildflowers.
Two women: one is young, angelic, billowing and dream like; the other alternates between the fetal position and the floating corpse pose. Side by side, the wood framed vessels into which the the images are projected and submerged in water, read as both boat and coffin. Like flowers dropped from the installation’s peeling wallpaper or the Chinese screens described by the narrator as she recounts a dream that turns into a nightmare, the water is the source of life of death. In Two Women, the gasping for air is visceral as the older woman contorts her body and I, the witness, listen to her story in Korean, read it in English and hear the stylus punctuate it into fabric as Morse code, the universal language associated with distress.
"Ghostcatching, dans, çizim ve bilgisayar kompozisyonunu harmanlayan bir dijital sanat enstalasyonudur. Kaiser ve Eshkar görsel ve sessel kompozisyonu yaratırlarken, Jones dansı ve sözlü ifadeleri tasarlayıp uygulamıştı. Optik hareket yakalayıcıyla kaydedilen bu ifadeler, onları kurgulayan, yeniden koreografisini yapan ve üç boyutlu bilgisayar ortamında sahneleyen, ayrıca gestural bir çizim tarzında üç boyutlu modeller şeklinde haritası çıkarılmış sanal kompozisyonun temel taşlarını oluşturacaklardı.
MYPOCKET by Burak Arikan traces simultaneously a personal history of expenditures and universal financial forecast. The artist has meticulously retained physical and virtual evidence of all his expenditures, creating a database visualization of their passage and custom software algorithm of their probability of recurrence. The Transactions Feed archives all of his economic interactions (thereby making all his personal financial records public), and posts their percentaged predictions.