The Future of New Media Art – XianXia Zhou Paper 3

Today’s era was referred to as the digital era, or the information age. Many higher education institutions have opened the New Media Arts Department. This phenomenon is the drive for market demand, is the result of the new century information technology industry to flourish. When we enter the Internet for interpersonal relationships, social and economic activities and education are strongly affected areas to learn new media and its aesthetic and function have become the basic things.

New media art may be more widely relevant to everyday life in future. Such as installation art, can become a home or office decoration. Museums or art galleries or art galleries, exhibition is no longer the traditional works of art, but new media art exhibits. The audience can touch and change the exhibits, to produce new works.

In an interview, when asked about “How a Net-artist can sell (offset) his art?How can one sell net art?” The digital artist H-Ray Heine said: “To my mind, the answer to this question is developing as we speak. The internet already has revolutionized the way art is experienced and distributed, and it will also change the ways in which art is sold. What I envision is a situation where collectors purchase digital art in the form of downloads, very similar to the way in which software in general is being sold. It is not difficult to develop of system of editions in which, for example, only 100 copies of an interactive work are available for purchase. Each download would have its own encrypted serial number, etc. For those art collectors who insist on something more tangible, CD-Roms and DVD will provide an alternative medium.”

The concept of an “original” is difficult to apply in digital media. One of the essential characteristics of digital media is its (virtually) infinite capacity of loss-free duplication.

Further, through the new feature of interactivity, a single work can also have an infinite number of manifestations, since the output of the work is determined by a combination of random funtions and user interactions, making it impossible to predict what the work will look like each time it is activated. For example, one of digital works -Thought Generator – combines words to create simple sentences, commands, or haiku poems, using random functions to select words and phrases from a set of word categories that each contain between 7 – 20 words, and the output is somewhat unpredictable and different for each observer who interacts with the work.

In other words, there is no “original” output of the work, since this varies each time the code is called, but there is, of course, the original code or software.

Similarly, the idea of an “author” looses much of its currency in digital media. A collaborative sitework on digitalsouls.com: generation/mutation v.2.1 is composed of the contributions of a large number of artists, each taking a single digital image as the starting point for their individual work and returning it with their individual modifications. The work as a whole, however, (the site), even though clearly original, does not have a single author but a collective of contributors and has become possible only through the use of the net. The art world needs to develop mechanisms and practices that allow it to integrate new media art into its realm.

The art does not have the support of the market and collectors groups is very difficult to survive. The art also means that market. Market collectors brought in to provide the conditions for survival and creativity for artists. New media art also need to win the concern of the entire art world, rather than always meet as a mixture of technology and art to look at.

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