Daniel
Rozin vs. Aram Bartholl
vs
In the Digital Arts, expression can be shown in many
different ways. It is art, but through technology; which can range from
sound/music to robots moving around. It can be displayed in different varieties
as well such as: picture, live events, projections, TV, computers, video games,
kinetic, and playgrounds (interacting with objects). Two digital media artists
are similar in a way where they have art that falls into the category,
“Alternative Physical Displays”, and as the title entails they show their art through
different mediums. Daniel Rozin is an interactive artist who creates “installations
and sculptures that have the unique ability to change and respond to the
presence and point of view of the viewer” (Daniel Rozin Bio). Rozin creates multiple
interactive pieces of art, which are grouped into Mechanical mirrors, Software
Mirrors, Video Painting, Glass Sculptures, and Proxxi Prints. One of his works is
in the software mirrors category, this piece is the Snow Mirror. The Snow Mirror is
a projection on a silk screen, as well as a computer, video camera, and custom
software is used. Another artist who creates interactive pieces is Aram
Bartholl. Bartholl’s work is trying to represent interplay between internet,
culture, and reality. One his works, Papierpixel,
involves an 8x8 pixel screen which is controlled manually, by a punch card
system. Both artists’ art are physical
and are moving displays, who are trying to get people/viewers to think.
Daniel Rozin’s Software Mirrors are projection screens or
kiosks that connect to video cameras and computers, which can reflect the image
after the computer interprets the image in front of them. There will be a certain transition or effect
on the person or object in front of the camera. And the transition will be able
to move along with the movements of the viewer. This is similar to what is
called “photobooth” on certain laptops and PCs, and iPhone apps. This is when
an individual holds the built in camera up to their face and selects a certain
transition or ‘effect’ on themselves. The difference with Rozin however is that
he projects it and uses different effects as he is trying to convey a message,
and trying to develop ways to interact with it more than one would on a laptop
or Smartphone app. His 2006 piece, Snow
Mirror is one of Rozin’s first pieces to be black and white. The image of the viewer is created by the congregation and
accumulation of white snowflakes in areas of the image that are brighter, which
results on in a sense of snowflakes around the transparent silk fabric. The
Snow Mirror projection has two towers
in which it seems like it is snowing, the viewer is then allowed to come near
the projected silk screen where there seems
to be a camera pointing at the viewer and the camera is capturing the
movements of the viewer and transferring to the computer software so that their
movement can be projected on the screen as well. Because the frequent movements
and the possibility of low installation software, the projection of the viewer
is not so well captured, and there is some latency of the movements that the
face, body, and features of the viewer distort that it can be a bit frightening
or disturbing to look at.
Many
of his other pieces involve “mirrors” where the audience can look into these
cameras and see themselves distorted which is almost appealing to see this kind
of artwork. It’s as if the artwork is always changing and enhancing, which is
very entertaining to see. Although it can be a bit disturbing because of the
distortion, the background is beautiful and for the viewer to become a part of
the background/artwork, is amazing. Being able to control the pieces of the
artwork is a really fun feature. It is similar to being able to Photoshop or
green screen oneself into backgrounds or art. It is almost like being in an
interactive game or a virtual reality when the point of view switches to see
oneself on the screen with snow falling around them. The piece was created in 2006, and it seems
like it was ahead of its time, or as if Rozin was thinking of the future, which
then created a base for what interacting with the screen could mean. It could
be a possibility that artworks like these has inspired game developers, phone
interaction apps, amusement park developers, and live action films to make
interactive games, apps, rides, and
films. Rozin wants to create a different message for his viewers as everyone
has different perspectives. To me Snow
Mirrors is a message of being calm about the new technology, but also
technology will need work (as seen from the distortion). Rozin is trying to create different point of
views and interactions with the public in his works using computer
installations, and he certainly does that with this certain piece.
Aram
Bartholl’s Papierpixel seems like a
complex form of artwork that involves many lights and switches with small punch
cutters. What Bartholl wants his viewers to think is how the media is
influencing humans, how the digital world is “challenging our concepts of
reality and incorporeality” (Aram Bartholl). Bartholl successfully shows this
message with his Papierpixel artwork because it shows a complex
projection with light bulbs and punch card systems. It seems like a complex
form of the telegraph with wires and electric pulses, but instead of receiving
the message through paper you receive it through a visual projection. Pixels
are also a part of technology; it is involved on our TV screens and phone screens,
which we look at almost every day. This light installation art piece was made
in the year 2005, which has been more than 10 years from today in which the
piece was made, and his message on how technology was going to be controlling
is very relevant. The individual pixels projecting on the screen was done by a
wide strip of paper, which was pre-programmed with punched holes that ran
between the pixel projection surface and the light source. This gives an
idea on how paper will be replaced by technology because the paper helped pave
a way to this projection. Without the paper the projection might not have been
possible. Although today the paper may not have been needed another screen may
have been used, or wires would be used. The merging of paper and the projection
screen is an interesting concept, and the way it was engineered with the paper
makes the piece seem really amazing. The tracks on the wide strip of paper are
also controlled manually in order for the projection to show up. Bartholl may
have been trying to give a message on how technology is controlling humans
because in order for the piece to work a human has to control and move it
manually, so therefore technology is controlling us because we want to see
technology work and we will put in that effort for technology to work.
“The
continuous interaction between the artist and the audience in itself becomes a
part of the project (Studies in Art
Education).” This is applying to Bartholl’s work, in which he does not just
engineer his kinetic projects but also does street performances where he
interacts with audiences. His work and the work of Rozin are both works in
which they interact and engage with the audience to make them think. Both Rozin
and Bartholl use Alternative Physical Displays, which we can infer is almost a
form of engineering as we have noticed from these two pieces of art work. Rozin
uses projection screens for the audience to interact with Snow Mirror, which gives a feeling as if you’re in the background
or on the screen. Bartholl as well lets his audience interact with the art, and
in the case of Papierpixel the
audience is allowed to pull on this programmed paper to see the different
sequences the pixels can form. Both pieces are forever changing and are not
necessarily still so it is just one piece; it actually becomes different pieces
as the audience interacts with it. It
challenges our brain to see something different, and trying to analyze the
message with this more modern art can have your brain wiring a connection to
the art, just as the artwork uses its machines to connect with art and humans. Both
artists want to challenge the viewers perceptions on how to see interactive
art, and the definitely achieve that goal.
Although
Rozin’s work differs from Bartholl’s work in the strategies they use to create
their art. For example Rozin uses many computers and sensors to project his
works. In Snow Mirrors he uses video
cameras, a projected silk screen, a computer, and custom software to present
his project. On the other hand Bartholl uses lightbulbs, with a wide strip of
paper pre-programmed with punched holes which were punched out by a punch card
system to build a screen. Both projects are made using different tools to
project a screen. The message as well are both different in which Rozin wants
his artwork to have many messages as different people are going to have
different perspectives or contrasting point of views when they see the art, it
won’t just seem as one message. While Bartholl seems like he wants a definite
message, which is that technology is controlling us, and that the media and
technology will constantly be changing as long as we are dependent on it in the
digital world. Both artists have different representations in digital arts and
different ideas, but they both share their interests in projecting displays in
how technology is constantly changing.
Bibliography
"Aram Bartholl." Aram
Bartholl. N.p., n.d. Web. 17 Dec. 2016.
"Art, Science, Technology, Conceptual Kinetics,
Electronics, Physical Computing; Robotics; Activated Objects, Mixed Reality,
Tangible Interfaces, Virtual/Physical Connections; Kinetic Instruments, Sound
Installation, Industrial." Art, Science, Technology, Conceptual
Kinetics, Electronics, Physical Computing; Robotics; Activated Objects, Mixed
Reality, Tangible Interfaces, Virtual/Physical Connections; Kinetic
Instruments, Sound Installation, Industrial. N.p., n.d. Web. 17 Dec. 2016.
"Daniel Rozin Bio." Daniel
Rozin Bio. N.p., n.d. Web. 16 Dec. 2016.
"Daniel Rozin Snow
Mirror." Daniel Rozin Snow Mirror. N.p., n.d. Web. 16 Dec. 2016.
LEE, MIMI MIYOUNG, and SHENG KUAN CHUNG. “A Semiotic Reading
and Discourse Analysis of Postmodern Street Performance.” Studies in Art
Education, vol. 51, no. 1, 2009, pp. 21–35. www.jstor.org/stable/40650398.
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