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22 Aug

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THREE ROUTES OF NET ART SPANISH NARRATIVE FOR FORESTS

(In late 2006 I published the following article in Catalan for the monograph “Art in the xarxa per i: i creaciÛ DISTRIBUTION net.art a l’estat espanyol (1994-2006).” Time has passed and the issue has fully become historic now marks 10-year history of net art ways to make money fast, four years of Tempus Fugit, and Medialab held a conference on art network in Buenos Aires. every reason to promote this text in Castilian. I hope you enjoy it) .

The narrative involved in digital creation seems to have become a kind of accidental companion of the various manifestations which it appears, despite a net art works better known, My boyfriend Came Back from war, Olia Lialina, is essentially a hypertext fiction and has undergone multiple reinterpretations. The narrative dimension in the network can be art, but not usually seen in specific ways.

Perhaps because the overall net art, net art and Spanish in particular, already have their own problems. Beyond the question of the eventual institutionalization or museizaciÛn net art, the Spanish version can suffer for three basic reasons:

- The need for validated as art of their own country. It is once again universal exhibition complex, questioned the structure of global spread of the network society, but nonetheless reinforced by efforts to build transnational networks where there is a connection point at least basic, such as language *.

-The fragility to a structure of production aid rather intermittent in nature, closer to the traditional video production to the requirements of multimedia.

And the weakness to the possibility of inclusion in the international art system that despite the digital revolution might not have changed much **.

However, the comment of some works of Spanish net art can contribute to deepen specific aspects that net art and narratives shared in the digital work, and help to explain some phenomena can interweave beyond labels sorting that can separate them. For this article I return to the analysis model I used with CD-ROMs in the trial narrative Tempus Fugit: the interactive story (Espais FundaciÛ d’Art Contemporani, Girona, 2004). This project analyzed six digital works in response to the interactive structure, temporary immersion and they generated. For economy of space and need for an exhaustive analysis, the selected examples are three on this occasion: hearbeat (Dora GarcÌa, 1999) We, the whores (Ricardo Iglesias, 2001), and invested Affections (Laura Bey, 2006 ).

Interactivity

Spanish net art has not been shown outside the international net art trends from the so-called heroic period to the current generic diversification, such as: predominance of hypertextual paradigm (as in Dora GarcÌa and the narrative creations with elements of Chat Robert Aguirrezabala), structures that impede and diminish potential narratives (as suggested by the work of Ricardo Iglesias, or series of Joan Leandre retroyou), or bet on paratextual interactions that enhance the contemplation of content beyond the means of clicking the work (as in Affections reversed).

Regarding the hypertext paradigm, hearbeat Dora Garcia proposes a hypertext navigation based on a fictional story: the birth of a community of listeners beats heartbeaters or absorbed in their own business to forget about the world around them.

In the initial screen is the image of a woman’s torso, his chest covered only by a bra. On the space occupied by the heart of the woman is entitled Heartbeat. Construction of a fiction, and he begins by clicking on a textual explanation of what are heartbeaters. This description is structured around four initial words linked in different colors, that will lead to four themes identified in the top bar of the window that opens: fashion green (for matters relating to the identity), intimate perception yellow (for issues related to madness), percussion close in red (for privacy issues), and addictive in blue (where indicated as addictions are treated).

There is the possibility of trying to follow the screens to be guided by a particular theme or color, but often only if there is a hyperlink, follow not guarantee to continue in the same subject. The goal seems to be becoming a global idea of ??what are heartbeaters on various aspects that may characterize (description of its basic features, definition of the disorder, providing data that explain how it manifests itself, etc.).. This affects not only the design scheme to follow, but also in the way of articulating the genre fiction, as we shall see in

Immersion

In regard to the structures which hinder the narratives, one of the classic examples is We, the whores, Ricardo Iglesias. In this work, the artist takes the title essay of protest for the rights of sex workers Pheterson edited by Gail (Thalassa Ediciones SL, 1992), with the intention of uncovering the literal existence of prostitution in society.

From initial blurred image of a prostitute, the work consists in clicking and dragging the pictures of different sizes that cover the black background of the screen to discover the text that can be glimpsed beneath them. The images chosen are individuals who may be prostitutes heterogeneous, but also children, women or elderly.

The task of removing all layers allows you to read the words of the book that claims the existence of prostitutes, as well as responding to concerns that can generate the juxtaposition of different individuals in society anomie normalized represented by sex workers. The expectations in the process of disclosure and the ability to impact the film will be a key element in understanding the development immersive and temporary, as discussed in the appropriate sections.

There are also other ways to unlock that do not involve explicit interactivity, and who are committed to linking with other media such as video, to raise the ratio of the same media formats or meta, as with the blog on the website on the Internet. Examples of these relationships are affected invested Laura Bey.

The artist selected videos from video blogs or online journals with audiovisual content. The rise of amateur digital video captured via mobile phones and posted quickly and easily on the Internet is a wonderful resource for the theme chosen by Laura Bey: the affections invested or videos of fights where the love become hatred. Once chosen the video, Bey created a website with a simple aesthetic, preferring a black background on which images appear upside down and loop, so you can stay there as long as you want (and re- see them) or go back and forth with small arrows on the screens.

You can not click inside the videos, so the material looks copied directly from video blogs: manipulation seems to focus on the repetition structure and investment, but not in the order content. However, beyond the apparent simplicity of the order of the images and apparently stark style of the conflicts that arise in them, the main peculiarity of the work is that all videos are reversed except a small one that occurs in the left side of most screens. It also seems to be a home video, and he sees a boy playing with a ball carelessly. The contrast between the permanence of this image and violent videos to be loaded into the right side also serve to reflect on the structure and specific immersive temporary work.

Immersion

Dora GarcÌa’s works tend to be characterized by the creation of stories that serve as a starting point for broader communication projects. Often, Garcia creates or makes short fictions of fictions representation orders (ie, performances), which represent excellent MacGuffins to discuss broader issues such as the sense of communication (The Messenger), the role of audience (the crowd) or institutional critique in the Kingdom). The gap may exist between explicit explicitly creating a false fiction and fiction spectrum generated through performative is used as the interstitial space that challenges not only possible notion of pure fiction, but also of the documentary as a document, and what is more important in the case of Heartbeat, the value of the documentary as nonfiction.

The title of Heartbeat and warning about the fictional nature of the work: the construction of the fiction notice that the story is invented, but in different screens shatter heartbeaters the features of the speech takes a journalistic tone, ranging from information on trends in the identity section (where not only provide clues about what are heartbeaters, but the typical photo essay illustrates the trend) to the warning about the consequences of practicing a lot (halfway between journalism reporting and sensationalism apocalyptic media).

Red screens dedicated to privacy issues are perhaps the closest to a literary story, as re-examine the value of one’s heart and notions of sound and silence. However, this approach only serves to intimate reinforce the fanciful character of the rest: the visual design puts all the hyperlinks on the same level of significance (the story is always understood as a tangle of colors), and thus the construction of the fiction does not work with direct immersion mechanisms in illo tempore type, but moving through different screens documentaries ficcionalizante Assumable vision of what, in a perfect world, could become a real disorder.

The fictional nature of prostitution (synonymous with one thing that is amazing, you can not believe) is what is at issue in our case, the whores. The way in which media images compartmentalize referred to prostitution in order not to mix with the ordinary citizens get rid of overlapping images of different origins that articulates this work. For those who expected to find a narrative about the prostitutes, Churches offers a very different content-a semantic matching that feeds the need to click on all pictures to discover the final message.

The curiosity of the viewer to the social collage of images that are presented and that you can be surprised to see that, for the work before him, children, women, elderly and prostitutes once may occupy the same plane of meaning are elements of the work that has to generate a documentary-style immersive experience.

Therefore, it is not one that allows direct immersion plunge into the world of prostitutes as the invisible channels of Antoni Abad (where visibility is not articulated by following more artistic techniques of painting, but through a communication system mobile phone and website alongside the mainstream media), but a sensory experience that challenges the prejudices and motivated work has ergodic (effort) needed to unravel the ultimate message of the work. Despite the obviousness of the final sentence of the book, the mystery of the narrative film remains a kind of reverse Tetris where the game becomes social awareness.

For its part, the critical goal in Affections invested is conveyed through a simple structure and no possibility of bystander intervention beyond the forward and back screens. In this sense, the work could be seen as a documentary that shows the breakdown of close relationships among young people. However, this interpretation would be simplistic and would obviate an important consideration: what is the origin of the videos submitted, is it really true that young people are dedicated to record their acts of violence without more, as if the actions of the film A Clockwork Orange it had become real? Or, conversely, to what extent there is no pretense, exaggeration of violence fueled by the desire for exhibitionism and become famous society that encourages the show?

Although youth violence can be considered a real problem (as with the marginalization and discrimination of various groups planted in us whores or in the various channels by Antoni Abad), the objective of Bey does not seem so close to the denunciation of violence as surplus the excitement and delight that is exercising violence. To reinforce this idea, without reverse images of the boy banging a ball to the left of the screen, as if they had taken from a home video program seem even more ironic about the volatility of emotions invested presented, attributing to the bitter fights rather uncertain origin. The work can remind the television where the private lives of some celebrities present on the set becomes the subject of scorn and controversy without knowing quite why.

So, what in principle could have been interpreted as a proposal for immersion in a narrative documentary on youth violence becomes a reflection on communication systems that glorify the violence, so that video images taken with phone Mobile and removed from reality in many fictions become comparable with the performance of the boy who plays with the ball to be funny and maybe also to get visibility on television. Social dysfunction that indicate aggressive behavior and dysfunctional image (inverted) the (re) presents performative become excuses to portray a series of created reality, ie, which are intended as such, which may have been exaggerated for display and for this reason assume a status of false documentaries.

Time

The analysis of temporary creations online involves detailing their nature, although non-linearity, bifurcation structures and the fragmentation of these works is difficult to speak of a single story time and reading time preconceived. Deepening disrupted these notions of time helps to understand the new narrative models proposed for net art in such areas as:

The relation between reading time and number of link that would extend it.

Heartbeat lasts as long as you explore the links proposed. Beyond the possibility of trying to go exclusive paths (privacy soak or immerse yourself in everything related to addiction), the fact is that the links end up shooting in all directions, and time becomes centripetal. Albeit marginal, also includes a photo and a video sequence that alter the reading times for the texts provided. Similarly, it is possible that not devote the same amount of time reading poetic passages that those who reiterate the dangers of Heartbeat. In any case, the expected time devoted to reading the work can vary and increase the number of clicks due to compulsive design approach: the various colors encourage equal elements look beyond the content they provide.

We, the whores are subject to two-term dynamics. On the one hand, the time that each person devote to reading, in deciding on what image you want to click and when to do so (ie, how you want to dismantle the social map that is proposed). In this sense, the fully interactive nature of the work becomes the fact click sine quan non for the generation of any time of the story beyond the image first proposal, since all images are links that have to depart from way. On the other hand, the successive clicks route the work towards a predetermined end: Although you can choose the length of the route and the route to follow, the end of the path is defined. There is a recognized final time at which the only thing you can do is replay the images as if they were a deck of cards.

Limits the possibility affections interactive invested while you devote to watch each video and go to the next, whether you want to see once and if you want to see again. The duration of the different readings can vary, because although the first video (as in the first picture of us whores) satisfies the expectations of what is believed to be seen (a video found on the Internet, drawn from life real, which spreads violence among youth), subtracting this initial idea boycotting appearing at the same time that the guy with the ball, what has to do with the aggressive scenes being shown on the right side? The juxtaposition underlying curiosity and actually spending more time watching a particular video.

From the opening titles and the first video image of affects invested helps the viewer suspects that there is some kind of anomaly. The first impression led to think that the mirror image does nothing but repeat what abnormal, violent, behavior exhibited, but the videos after the video opposing the boy spent not arouse suspicion that the abnormality can be found more in the representation when it represents. These reflections can cause it to maintain or reiterate reading time trying to figure out the mystery, while setting in the video is not inverted so that the account earns fragmeto hypnotic. The lack of interactivity on images further promotes this kind of temporal persistence.

-Waiting times between screens (intended or not).

Refer to the pace and the transitions between the various contents. Waiting times are not only due to technical reasons such as connection speed and the rate of file downloading, but can also be incorporated on purpose to generate a certain cadence in the assembly of the work.

This variable has a clear role in the three works raised since the passage from one screen to another is determined by the way they want to interact and not so much empty preset times, but can communicate in a natural way the link between net art and narrative, ie the sequential structure present in hypertext model, a structure that impedes the narrative or a set of videos without direct interaction. However, it is a narrative that is no guarantee of fictional narrative: no structure does not guarantee the dive.

However, waiting times may become apparent in works of a more self-referential (where for example sets a criticism of the so-called hypervelocity and hiperactualizaciÛn have to have software and hardware), or projects that favor the middle audiovisual mounting way between the cinematic image and interactive digital image. Moreover, aside from the freedom of the net artist works to clear the network, often found broken links or pages that fall from the servers that housed. The preparation of this article has found many broken links and 404 errors that make the waiting time at time zero (the absence of connection), making some Spanish artists in net (involuntary) likes of JODI.

-The temporal relationship to aspects external to the online creation.

The latter two assumptions variable stop arrogant but certainly necessary, at least for the operation of certain tests: that the work is to have a certain finite (despite its eminently open, there is concrete work), and perhaps this explains finitude entirely through the Internet. The importance of this variable can be exemplified in the way that real-time inserts Dora GarcÌa connect the space / environment physical exhibition (and performance that is generated in it) with their translation online. Where does the time these works? Are excluded from the net art? Close Topic Heartbeat considering that time presents a self that is characteristic of net art would recognize an illusion of autonomy of the Internet network where it would seem something of a model of contemporary fiction, but would it make sense to apply this simplification to establish a generic classification?

Communication and time span between physical and virtual world is not easily discernible in the works of Churches and analyzed Bey, although in both cases there is a material that in principle prior experience proposes a documentary beyond the time spent on the photographs for We form the puzzle, the whores, the emphasis is on the process needed to (un) fit the pieces together, and in any event in the personal management of time this process creates. The visual model is very different from painting created from various media (papers, photos, miscellaneous substances) or the notion of the network as a canvas, with the exception that in this case the specialization of the exhibition space is complemented by the temporality that ascribes the interactivity (or there is the specialization of the time of the story, if one considers a model of pictorial art audiovisual but root).

With regard to affect invested the time the story is constructed according to the length of the videos and reading time you want to devote to each one of them. Beyond the process of contemplation of the work, it is noteworthy that the author is the creator of the videos, but uses a material advantage of the network, like other artists that structure the narrative of the works based on Google *** , or other elements of the Internet. That is, the time of the story while expanding the network, in which images are subjected to a structure that encourages or ignores their detection as classification parameters determined by mathematical variables, social and economic.


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