CHRISTIANE PAUL Renderings of Digital Art

Renderings of Digital Art
Author(s): Christiane Paul

Source: Leonardo, Vol. 35, No. 5, Tenth Anniversary New York Digital Salon (2002), pp.
471-474+476-484
Published by: The MIT Press
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Renderings of Digital Art
CHRISTIANE PAUL
which it complements, augments and/or challenges traditional

concepts of art. This requires an introduction to the public.
During the past couple of years, there have been several major
-M:TI:tr:ElI exhibitions dedicated to today's digital art. It seems an apt time
This essay identifies the current qualifier of choice, for a survey show that offers multiple perspectives and establishes
"new media," by explaining how this term is used a broader context for this art form. The title of the New York
to describe digital art in various forms. Establish- Digital Salon's Tenth Anniversary Exhibition alludes to vector
ing a historical context, the author highlights the graphics, mathematical algorithms that describe the shapes, shad-
pioneer exhibitions and artists who began workingings, colors, and location of objects (as opposed to bitmap graph-
with new technology and digital art as early as the ics, where the image is represented by pixels arranged on a grid).
late 196os and early 197os. The article proceeds to
The metaphor of the vector suggests an algorithmically driven flu-
articulate the shapes and forms of digital art,
idity of forms, appearances, and positions that seem to be an
recognizing its broad range of artistic practice:
appropriate approach to digital art.
music, interactive installation, installation with net-
work components, software art, and purely
Internet-based art. The author examines the
Positions-Histories of Digital Art
themes and narratives specific to her selection of
artwork, specifically interactive digital installations During the past ten years, we have seen a technological develop-
and net art. By addressing these forms, the author ment of unprecedented speed for a medium that was conceptual-
illustrates the hybrid nature of this medium and the ized and envisioned decades ago. It was in 1945 when army
future of this art practice. scientist Vannevar Bush published his seminal article "As We
May Think" in the Atlantic Monthly. The article described a
device called the Memex, a desk with translucent screens that
would allow users to browse documents in various media (from
text to photography) and create their own trail to a body of docu-
|W ^ henever a new art form comes along, it is usuallymentation. The Memex was never built but can be seen as a con-
accompanied by a classifier, such as "video art" or "dig- ceptual ancestor of computers and the Internet. In 1961, Theodor
ital art." Today's qualifier of choice, "new media," ren- Nelson coined the terms "hypertext" and "hypermedia" for a
ders the newness of yesterday's new art form obsolete and already space of writing and reading where texts, images, and sounds
implies its own datedness. The new media of the late 20th centu- could be electronically interconnected and linked by anybody
ry were video art and its hybrid forms and derivatives. Multime- contributing to this networked "docuverse." Today, the concepts
dia and hypermedia were terms applied to digital art forms, whileof Bush and Nelson have found their physical and virtual mani-
intermedia was used to describe interrelationships between differ-
ent forms of media (such as video and digital technologies). In the Christiane Paul, Adjunct Curator of New Media Arts
early 21st century, the term "new media" is mostly used for digi-Whitney Museum of American Art, New York City
tal arts in its various forms. It takes a while until the "new" (insert Faculty, MFA/BFA Computer Art Department
video or digital) art becomes Art (with a capital A), integrated School of Visual Arts, New York City
into thematic surveys and exhibitions that include all kinds of79 Thompson Street, # 12, New York, NY 10012, U.S.A.
E-mail: Christiane_Paul@whitney.org
media. This doesn't mean that the qualifier forever vanishes, but
Web site: www.christianepaul.net
that the art form moves beyond the medium itself and the way in
? 2002 ISAST LEONARDO, Vol. 35, No. 5, pp. 471471-484, 2002 471
festations in computer networks on vari- "A systems viewpoint is focused on theprototyping, a print, or a digital photo and
ous scales. creation of stable, ongoing relationshipsvideo. In some cases, these works display
Digital art did not develop in an art-his- between organic and non-organic systems"
distinctive characteristics of the digital. In
torical vacuum, and incorporates many [1]. In modified form, this approach stillothers, it is not easy to tell whether the
influences from previous art movements holds a noticeable position in today's criti-
work has been created by means of digital
(ranging from conceptual art to Fluxus cal discourse on digital art. or analog technologies. Digital technology
and mail art) and experiments with art and It is debatable when exactly the historyalso has had a profound influence on music
technology. The year 1966 saw the foun- of digital art began. Artists started experi-composition and audio, which have reached
dation of E.A.T. (Experiments in Art and menting with computers in the 1970s,new levels of experimentation through the
Technology), which in the words of its engaging in what was then known as instant remixing, sampling, and reconfigura-
founder, Billy Kliiver, was formed out of a "computer art," and using now-archaiction that current technology enables.
desire to "develop an effective collabora- technology such as punch cards. With dig- The employment of digital technologies
tion between engineer and artist. The rai- as a medium implies that the work is pro-
ital technology, color and texture could be
son d'etre of E.A.T. is the possibility of a created and manipulated instandy. Painters,duced, stored, and presented in digital
work which is not the preconception of sculptors, architects, printmakers, photog-format and makes use of the inherent pos-
either the engineer or the artist, but is the sibilities of the medium. However, this art
raphers, and video and performance artists
result of the exploration of the human can manifest itself as everything ranging
began to experiment with computer imaging
interaction between them." The joint pro- from an interactive installation to an
techniques that allowed for the manipulation
jects developed over a decade between installation with network components to
of scale, color, and texture in ways that were
Kliiver and artists such as Warhol, Robert not possible with physical mediums. software or purely Internet-based art.
Rauschenberg, Jean Tinguely, John Cage, Using new technology such as video and The digital medium exhibits distin-
and Jasper Johns were first seen in perfor- satellites, artists in the 1970s also began toguishing characteristics, which are often
mances in New York (Tinguely in the gar- experiment with live performances andused in varying combinations. It is interac-
den at the Museum of Modern Art, and networks that anticipated the interactionstive, allowing forms of navigating, assem-
Rauschenberg at the Armory). These were currently taking place on the Internet andbling, or contributing to artwork to go
later featured in an exhibition called through the use of streaming media. Inbeyond the mental event of experiencing
1979, a collaboration between artists in
"Some More Beginnings" (at the Brooklyn it. It often is dynamic, responding to a
Museum and MoMA) and lastly at theNew York (Liza Bear and Willoughby changing data flow and real-time data
Sharp) and San Francisco (Sharon Grace transmission. The art is not always collab-
Pepsi-ColaTM Pavilion at the 1970 World
and Carl Loeffler) resulted in Send/Receive, a orative in the original sense of the word,
Expo in Osaka, Japan. E.A.T. was the first
fifteen-hour, two-way, interactive trans- but often participatory, relying on multi-
complex collaboration between artists,
mission between the two cities through the user input. Another distinguishing feature
engineers, programmers, researchers, and
use of a CTS satellite. The world's first
scientists that would become a characteris- of the digital medium is that it can be cus-
tic of digital art. interactive satellite dance performance-atomizable and adaptable to a single user's
In 1968, the exhibition Cyberneticthree-location, live-feed composite perfor-needs or intervention. While some of these
mance involving performers on the
Serendipity at the ICA in London present- concepts have been explored in perfor-
ed works ranging from plotter graphics Atlantic
to and Pacific Coasts of the United mance art, happenings, and video art, the
States-was organized by Kit Galloway and possibilities of remote and immediate
light and sound environments and sensing
Sherrie Rabinowitz, in conjunction withintervention are unique to the networked
"robots." These now seem only like the
humble origins of digital art (and could NASA
be and the Educational Television digital medium.
Center in Menlo Park, California. These The interactive, digital medium has
criticized for clunkiness and overly techni-
performative events were initial explo-
cal approaches). Yet at the same time they challenged traditional notions of the art-
still show characteristics and narratives rations
of work, audience, and artist. Developments
of the connectivity that is charac-
the medium today. Now there are works
teristic of networked digital art. in this object suggest a paradigm shift for
focused on the aesthetics of machines and art practice from the art object to the post-
Shapes
transformation, such as painting machines and Forms of object conditions of possibility and a fluid
Digital Art
and pattern or poetry generators. Others interaction between different manifesta-
are dynamic and process-oriented, explor- tions of information.
The term "digital art" has become an

ing possibilities of interaction and the
Shadings-Themes and
umbrella for a broad range of artistic prac-
"open" system-a "post-object." In his arti-
cles "Systems Esthetics" and "Real Time tices and does not describe one specific Narratives in Digital Art
Systems" (published in Artforum in 1968aesthetic. Artists have used digital tech-
and 1969, respectively), Jack Burnhamnologies as a tool for creating an art object, My selection of works for the New York
already explored a systems approach to art:such as a sculpture created through rapid Digital Salon Exhibition strives to give at
472 Christiane Paul, Renderings of Digital Art
least an impression of themes and forms forms of context and meaning. The scan- retrieving information independent from
addressed by interactive digital installa- ning and classification of objects also is at the original design of the data source and
tions and Net art (the two categories I the core of George LeGrady's Pockets Full displaying it as free-floating in space.
have focused on). Among these themes or of Memories, an installation with an accom- netomat exposes the subconscious of the
"narratives" are telepresence, artificial life panying Web site. However, this projectInternet in an associative data stream that
and intelligence, "biotelematics," and focuses on the visitors' own belongings andreveals interconnections between concepts
archiving; and alternative browsers, map- the mundane objects they carry in theirand themes.
ping and data visualization, and Net pockets-signifiers of personal memories Apartment, by Martin Wattenberg and
activism, as well as multi-user environ- and values. The mapping of these objects Marek Walczak, takes a very different
ments incorporating visuals and sounds. points to the potentiality and absurditiesapproach to the concept of mapping by
The selections consist of more recent
of classifying objects endowed with per-exploring relationships between language,
works and are complemented by other
sonal meaning. A different angle on thememory, and space. Words translated are
curators' choices, which go back further creation
in of meaning is provided by Perry typed in by viewers into a two-dimensional
Hoberman's Timetable, an installation thatblueprint of an apartment (by analyzing
history and/or provide different angles on
prominent themes in this medium. explores the significance and connotations their underlying meaning) and the submit-
Issues of the transformation of informa-
of different types of interfaces. The sceneted apartments are organized into cities
tion in the context of evolution and artifi-
projected onto the table's center is con- that can be searched according to themes.
cial life form the basis of Christa trolled by dials whose function continu- The project presents the written word as a
ously mutates and leads to splits into spatial practice and creates new levels of
Sommerer's and Laurent Mignonneau's
project A-Volve. By transferring digital
multiple perspectives. These splits under- associations and meaning.
creatures (painted by visitors) into a natu-
line the expectations and associations evoked The concepts of multi-user environ-
ral environment, a crossroads of the by
real
different interfaces. ments, gaming, and file-sharing are central
and virtual world is created. Aesthetics The category of Net art has become a to John Klima's Glasbead, a musical instru-
becomes the crucial factor in the survival broad medium, encompassing very differ- ment and toy that allows players to manip-
of the fittest: The form designed by theent forms of approaches to the networked ulate and exchange sound sample files and
visitor determines the virtual creature's medium. Carnivore, a project by Alex Gal- create rhythmic musical sequences. The
movement and behavior in space. Allowing loway and the artists' collaborative RSG project, a contained but constantly chang-
visitors to interact with the creatures in the (Radical Software Group), captures one ofing world of its own, was inspired by Her-
pool, A-Volve reinstates the human manipu- the central aspects of digital media: the mann Hesse's novel Das Glasperlenspiel (The
lation of evolution in the digital realm. relationship and tension between the back Glassbead Game, published in English under
Eduardo Kac's Genesis takes a very dif- end of code and data and the front end, the title Magister Ludi). It applies "the
ferent approach to similar issues by creating and the traceable form this code takes (be geometries of absolute music to the con-
a synthetic "artist's gene." Here, a sentenceit in the form of visuals or more abstractstruction of synesthetic microworlds" [2].
from the biblical book of Genesis is trans- communication processes). While the Car- Since the advent of the World Wide
lated into Morse code, which is then con- nivore Server, an application that performs Web, there have been various Net activism
verted into DNA base pairs that are laterpacket-sniffing on a specific local area net- or "hacktivism" projects that use the net-
transformed into bacteria exhibited in a work, serves a raw data stream, the clientwork and its possibilities of instant distri-
petri dish. The project examines the rela- applications created by numerous artists bution and cloning of information as a
tionships between information and interpret various aspects of the data in staging platform for interventions, be they
biotechnology, and belief systems and visual ways. At the core of the Carnivorein support of specific groups or a method
ethics. It also establishes a telematic con- project are the unlimited possibilities ofof questioning corporate and commercial
nection between remote places by allowingvisualizing the server's data stream in a col- interests. The projects by the artists behind
visitors to turn on the UV light above thelaborative, open-source way. 0100101110101101.org-which range
petri dish over the Internet, thus influenc- The simplest ways of "visualizing" infor- from the cloning and remixing of other
ing the mutation of the organisms. mation on the Internet are Web browsers. artists' and organizations' Web sites to the
David Rokeby's Giver of Names address- Our experience of the Internet is largelycreation of a virus-are representative of
es issues of "machine intelligence" in a determined by these browsers and theirthis form of artistic practice and focus on
poetic way that transcends the merely conventions. Several art projects have the political, cultural, and commercial
technological fascination with AI and revised and extended the browser concept aspects of the network.
becomes a reflection on semantics and the (among them I/O/D's Web Stalker and There are many other themes in Net art
structure of language. The computer's Mark Napier's RIOT). A notable contribu-and digital art (such as narrative environ-
attempts to arrive at conclusions about tion to this body of work is Maciej Wis- ments or networked, live performances)
objects chosen by visitors lead to increas- niewski's netomat, a meta-browser that that aren't addressed in this selection.
ing levels of abstraction that open up newtreats the Net as one large database of files, Nevertheless, it hopefully illustrates the
Christiane Paul, Renderings of Digital Art 473
hybrid nature of this medium, establishing
a historical context and pointing to the
future of this art practice.
REFERENCES
1. Jack Burnham, "Systems Esthetics," Artfbrum

Vol. 7, No. 1 (September 1968), p. 31; "Real Time
Systems," Artforum Vol. 8, No. 1 (September
1969) p. 51.
2. Richard Gess, "Magister Macintosh," The Drama

Review (Winter 1993) p. 38-45.
Christiane Paul is the Adjunct Curator of

New Media Arts at the Whitney Museum of
American Art and the Director of Intelligent
Agent, a service organization and information
resource dedicated to digital art (www.intelli-
gentagent.com). She has written extensively
on new media arts and has been working with
Victoria Vesna and Margot Lovejoy on a book
about context and meaning in digital art (to
be published by MIT Press), and on a book
called Digital Art (part of the World of Art
Series published by Thames & Hudson, Unit-
ed Kingdom). She teaches in the BFA and
MFA Computer Art Departments at the
School of Visual Arts in New York and has
lectured internationally on art and technology.
Her first show at the Whitney, Data Dynam-
ics (March-June 2001), dealt with the map-
ping of data and information flow on the
Internet and in the museum space. She also
curated the Net art selections for the exhibi-
tion evol (Gallery L, Moscow, October
2001); for Fotofest (Houston, Texas, March
2002); and the 2002 Whitney Biennial
(March 2002). She is responsible for Artport,
the Whitney's online portal to Internet art
(http://artport.whitney.org).
474 Christiane Paul, Renderings of Digital Art
Maciej Wisniewski, United States
netomatTM, 1999-present
Projection, computer, and projectors
http://www.netomat.net
netomatrMis a meta-browser that, unlike traditional Web browsers, doesn't rely

on the model of the Web page for retrieving preconfigured content, but engages
an Internet that is alive and unpredictable. In response to words and phrases
typed in by the user, netomatrMdialogues with the Internet to retrieve text,
images, and audio, which flow onto the screen in a continuous stream of data.
Using a new, audio-visual language designed specifically to explore the
unexplored Internet, netomatrM reveals how the ever-expanding network
interprets and reinterprets cultural concepts and themes.
476 Christiane Paul, Selections
.1
E1I'm I
X, 1, M I
_ _ l . .. . : .
/ ..
,I...
Martin Wattenberg and Marek Walczak, United States

Apartment, 2001
Net art
http://www.turbulence.org/Works/apartment
By typing in words of their choice, users create rooms and apartments as a two-
dimensional plan, similar to a blueprint. The architecture is based on a semantic
analysis of the user's words, reorganizing them in the rooms to reflect the underlying
themes they express. This structure is then translated into navigable, three-dimensional
dwellings composed of images from a previous Internet word search.
The apartments created on the Apartment Web site are clustered into cities according
to their semantic relationships. The cities can be arranged according to semantic
complexes such as "Art," "Body," "Work," and "Truth"-the apartments with the
highest occurrence of the respective theme will move to the center. Apartment both
alludes to and reverses the idea of the memory palace, a mnemonic technique
originating from the 2nd century B.C.E. used for rhetoric purposes. The technique was
based on mentally assigning parts of a speech to specific rooms or spaces, and then
delivering that speech by mentally walking from space to space. Establishing an equiva-
lence between language and space, Apartmentconnects the written word with different
forms of spatial configuration.
Christiane Paul, Selections 477
John Klima, United States
Glasbead, 1999-2000
Software
Glasbeadis a multi-user persistent collaborative musical interface, instrument, and toy that allows
players to import sound files and create a myriad of soundscapes. The interface consists of a rotating,
circular structure with stems that resemble hammers and bells. Sound files can be imported into the bells
and are triggered by flinging the hammers into the bells. While G/asbeadcreates a contained musical and
visual world of its own, it also allows up to 20 players to remotely "jam" with each other. Alluding to and
transcending concepts ranging from gaming to musical instruments, G/asbeadis a unique rendition of a
multi-user multimedia world where sounds and visuals enhance each other.
Ol.org
oioo01111OlOllOl.Org, 2000
Web site
http://www.0100101110101101.org
no copyright
The projects by the "activists" behind oiooio1o1oioloi.org focus on data

access and document and archiving models, exploring the political and
cultural context of networked communication. The projects include the
cloning and remixing of other artists' and organizations' Web sites, as well as
mapping and surveillance through access logs and tracking. With the project
life_sharing, oiooloillololloi.org turned its site into public property: The
site consists of the organization's hard disk, published in its entirety in html
format, visible and reproducible by anybody. Issues of restricted and open
access to data are a core element of this site and point to the complex politics
behind any form of data management.
. .
Alex Galloway and RSG, United States

Carnivore, 2001-present
Mixed media
http://www.rhizome.org/carnivore
Photo by Paul Johnson
Carnivore is a networked art project that takes its name from the software DCSiooo, which is used by the
FBI to perform electronic wiretaps and was known by its nickname "Carnivore." The project consists of
two parts: the Carnivore Server, a Windows application that performs packet-sniffing on a specific local
area network and serves the resulting data stream via the Net; and an unlimited number of client applica-
tions created by artists, which tap into the data stream and interpret it in creative ways. While issues of
surveillance are at the core of Carnivore, the project defies a simple classification of surveillance as
either "good" or "bad." As opposed to the original FBI software, it is an open system, allowing everyone
access to the code and creation of a client that "aestheticizes" the data stream. The collaborative and
open-source nature of the project embodies a central issue in Internet art.
Christa Sommerer and Laurent Mignonneau
A-Volve, 1994-1995
Interactive computer installation
The interactive, real-time environment A-Volve allows visitors to create virtual
creatures and interact with them in a water-filled glass pool. By drawing a shape with
their finger on a touch screen, visitors produce virtual three-dimensional creatures
that automatically become "alive" and swim in the real water of the pool. The
movement and behavior of the virtual creature is dependent on its form, which
ultimately determines its fitness for survival and ability to mate and reproduce in the
pool. The creatures also react to the visitors' hand movements in the water. A-Volve
literally translates evolutionary rules into the virtual realm and at the same time
blends the virtual with the real world. Human creation and decision play a decisive
role in this virtual ecosystem. A-Volve is a reminder of the complexity of any life form
(organic or inorganic), and of our role in shaping artificial life.
Eduardo Kac, United States
Genesis, 1999
Transgenic net installation
Genesis creates a synthetic "artist's gene" by translating a

sentence from the biblical book of Genesis into Morse code,
and converting the Morse code into DNA base pairs. The syn-
thetic gene is cloned into plasmids, which are then
transformed into bacteria. In the gallery installation, visitors
encounter a pedestal with a petri dish containing the
bacteria with a UV light over it, which disrupts the DNA
sequence in the plasmid and accelerates the mutation rate.
Visitors to the Genesis Web site are able to remotely turn the
UV light on, thus interfering with and influencing the
process. Genesis examines the relationship between
information technology and biotechnology, belief systems,
ethics, and the Internet-and literally becomes a life-shaping
force. The interplay between these various realms is created
by the translation of different forms of information. This
results in the creation of a life form that was originally based

on language and "code."
Perry Hoberman, United States
Timetable, 1999
Interactive installation
Photo by Peter Meretzky
Timetable consists of twelve dials that are positioned around the

perimeter of a large circular table, with an image projected from
above onto its center. The dials' functions change and mutate-they
can become clocks, gauges, speedometers, switches, steering
wheels, etc.-depending on what is projected onto them at any
given moment. The real-time 3D scene at the center of the table is
controlled and influenced by the movements of the dials. The space
of Timetable undergoes constant transformations and becomes
more complex and multidimensional as it is used: Perspectives split
off from each other and create an awareness of the "time frames"
suggested by different interfaces.
George Legrady, United States
Pockets Full of Memories, 2001
Digitized image data
Pockets Full of Memories consists of an installation and accompanying Web site. The installation invites visitors to digitally
scan an object in their possession and answer a set of questions regarding this object. An algorithm classifies the scanned
objects in a two-dimensional map based on similarities in their descriptions. Users can review each object's data and add
their own personal comments and stories. The result of the project is a growing map of possible relations between items that
range from the merely functional to a signifier of personal value. At the core of Pockets Full of Memories is the notion of the
archive and "database," yet the project operates on the threshold between logical classification and the meanings that
aren't quantifiable.
David Rokeby, Canada

Giver of Names, 1991-present
Installation (computer, video camera, projection, objects)
Photo by Robert Keziere
The Giver of Names is a computer system that quite literally gives objects names by trying to describe them. The installation
consists of an empty pedestal, a video camera, a computer system, and a small video projection. Visitors can choose an
object or set of objects from those in the space, or from the ones they might carry with them, and place them on the pedestal,
which is observed by a camera. When an object is placed on the pedestal, the computer grabs an image and then performs
many levels of image processing (outline analysis, division into separate objects or parts, color analysis, texture analysis,
etc.). These processes are visible on the life-size video projection above the pedestal where the objects make the transition
from real to imaged to increasingly abstracted as the system tries to understand them. Rather than functioning as a kind of
Turing Test, Giver of Names is an exploration of the various levels of perception that allow us to arrive at interpretations, and
creates an anatomy of meaning as defined by associative processes.

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CHRISTIANE PAUL Renderings of Digital Art

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Renderings of Digital Art

Author(s): Christiane Paul

which it complements, augments and/or challenges traditional

are dynamic and process-oriented, explor- tions of information.

The term "digital art" has become an

472 Christiane Paul, Renderings of Digital Art

Christiane Paul, Renderings of Digital Art 473

1. Jack Burnham, "Systems Esthetics," Artfbrum

2. Richard Gess, "Magister Macintosh," The Drama

Christiane Paul is the Adjunct Curator of

474 Christiane Paul, Renderings of Digital Art

netomatrMis a meta-browser that, unlike traditional Web browsers, doesn't rely

476 Christiane Paul, Selections

Martin Wattenberg and Marek Walczak, United States

Christiane Paul, Selections 477

478 Christiane Paul, Selections

The projects by the "activists" behind oiooio1o1oioloi.org focus on data

Christiane Paul, Selections 479

Alex Galloway and RSG, United States

open-source nature of the project embodies a central issue in Internet art.

480 Christiane Paul, Selections

The interactive, real-time environment A-Volve allows visitors to create virtual

Christiane Paul, Selections 481

Genesis creates a synthetic "artist's gene" by translating a

results in the creation of a life form that was originally based

482 Christiane Paul, Selections

Photo by Peter Meretzky

Timetable consists of twelve dials that are positioned around the

suggested by different interfaces.

Christiane Paul, Selections 483

David Rokeby, Canada

484 Christiane Paul, Selections

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