![]() This piece encouraged users to download a website and create alterations to it with keystrokes whose resulting output resembled the effects of a virus on the digital information, thus ultimately destroying the site into a deteriorated state. Creating internet art since the early days of the web in 1996, this Tokyo based group of Kensuke Sembo and Yae Aikawa pride themselves on building acts of "technological terrorism" into their artwork such as their early work Discoder (2000) that received an honorable mention at Ars Electronica. The Fragmental Storm and Joiner apps by the Japanese artist duo Exonemo examine the deluge of available data on the Internet and seen through the camera lens by using sound and imagery in a collage-based context. Scales range from pentatonic to C and enable the creation of textured, tremolo and various other effects. The sketches can auto-spin, be rotated, and be manipulated while they are playing to achieve different sound effects. Changing the height of the line changes the pitch of the tone played and the location of the drawing (right or left of the screen) changes which earphone (left or right) you will hear the sound. ![]() SWS uses the phone as a canvas for creating 3D, rotatable drawings that generate sound based on the position of 3D lines on a floating scale. Pitaru has ported his interactive installation Sonic Wire Sculptor (SWS) to the iPhone with help from artists Zach Gage, Zach Lieberman, and James Patterson. Even something you might do each day when you come home from work to relax!", Snibbe explains.Īlso experimenting with enabling users to draw into 3D dimensionality on the iPhone is Amit Pitaru, a Brooklyn-based media artist and classically trained musician. Also, to create a special effect on your mind. To create something with a connection to a deeper part of your mind and an infinite explorability. "There's a great place for apps that are a one-shot "cool" "demo" experience, but what I'm after is something more inspired by the history of abstract animation Len Lye and Oskar Fischinger. Snibbe sees his apps as methods of adding simple snippets of meditation into our often super busy lives. The result is a generative drawing system that comes alive during and while using it. Scott Sona Snibbe, Antograph, 2010įinally, Snibbe's Antograph exists as a drawing program that allows for the user to create a trail of crawling ants on the screen that move based on gestural input. This work is an organic display that resembles the natural movements of single-cell organisms squirming around a petri dish. Snibbe's other classic software piece, Bubbleharp (1998) is also available as an app and allows for the user to drag their finger across the screen to create cell-like bubbles on the screen that animate based on the path the user moves while creating them. Gravity can be customized using the settings as well as heat amounts, antigravity, and the total amount of stars that are displayed. Snibbe has since released three "Apps" for the devices, including Gravilux, which was originally written for desktop computers back in 1998 and now exists as a free app that produces a starscape from thousands of small points that can be dragged around and played with using multitouch points on the screen. seemed silly hacking apart laptops to put on the wall." This quote exemplifies the reasons why the iPhone and iPod Touch have become key instigators for driving media artists to revisit their past work and release new versions for the devices. "I've been dreaming of this opportunity since the mid-nineties, a distribution platform for screen-based digital work," explains San Francisco Bay Area based media artist Scott Sona Snibbe, "It's why I abandoned doing this work in the mid-00s, because of a lack of a distribution model. The following article catalogs several new iPhone works which have emerged over the past year, works that are pioneering the next generation of portable media art. A year after the article came out, the draw of these devices and their potentially expansive audience has become even more irresistible to artists enough so that several more "apps" have surfaced. As the article made its way throughout the blogosphere, comments surfaced ranging from criticism of the "closed world of Apple's App Store and iPhone devices" to a championing of the availability of inexpensive multi-touch technology now available to artists who had been waiting for a platform that could adequately display and allow for the type of interaction their projects demanded. In the summer of 2009, I wrote an article here at Rhizome about the burgeoning activities of media artists creating new works or updating versions of their older interactive screen-based projects for Apple's iPhone and iTouch mobile devices.
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