Inventing the Future & The Thinking Machine were both screenings on the development of the computer. They both documented historical situations in which the computer emerged, as well as the advancement of the new technology. I found it interesting that both screenings cited competitive contexts in the creation of the first computers. The first one noted that World War II prompted the creation of the ENIAC, which was first used in weaponry calculations. The second screening mentioned what sounded like a technological race, in which IBM began manufacturing computers in competition with another company.
I found it astonishing that everything a computer does (which I never really think about, since machines are so prevalent today) was once done by hand. I always thought “computer” was a modern term, when it was initially used to describe humans who performed calculations. The thing I wish the films put more emphasis on is how machines were programmed to do so many complex operations. The functions of computers are already mind-blowing…but it was people who created these machines.

Although the Christo and Jeanne-Claude were the innovators who developed the idea of the running fence, every individual involved in the project can be considered a contributing artist. This includes those involved in the public opposition to the piece, those who tried to stop the construction of the piece, in addition to those who participated in physically installing the piece. At a press conference, Christo himself states that each one of attendees were part of the piece. Each of these individuals played a role in the installation, whether as concerned citizens, owners of property on which the fence was to be built, legal actors, or the installers of the fence.

The artwork itself, beyond the tangible fence, encompasses the process of putting the installation into place. The piece’s construction faced considerable opposition, both from citizens and from the law. Christo and Jeanne-Claude experienced a long and messy ordeal involving speaking with tens of property owners, attending press conferences, facing legal opposition, and otherwise overcoming barriers necessary to the creation of the fence. As mentioned earlier, Christo notes at a press conference that every individual there was part of the artwork. This is consistent with other avant-garde works from the era in which the focus was not solely on aesthetic value, but on participation and chance. The way events played out prior to and during the building of the fence was controversial and unpredictable. These factors contributed to making the piece what it was.

I found it effective and interesting that Engelbart referenced Vannevar Bush’s Memex in setting forth his conceptual framework. Consistent with Engelbart’s idea of breaking down complex problems, the Memex was intended to simplify and expedite the problem-solving process by using computerized methods to replace manual methods (that would take significantly longer amounts of time). Engelbart proposes “unit records”, or scraps of text on edge-notchable cards that represent little pieces of data and concepts. The principles of indexing are interesting because they bring to mind modern-day technology. Many types of complex problems are now easily solved by computers, which store countless bits of information. It is clear how influential Engelbart’s ideas were in the development of present technology.

Experiments in Art and Technology is an organization that was created to foster a relationship between art and technology. The E.A.T. chapter in the New Media Reader contains several selections of pieces that exemplify this relationship. The one I found most interesting was The Pavilion. Designed by a large number of collaborating artists and engineers, The Pavilion was a sort of virtual environment installation. One particular quote I enjoyed in the passage was: “The Pavilion would not tell a story or guide the visitor through a didactic, authoritarian experience.“
The use of the word “didactic” recalled the reading on Happenings, in which Kaprow criticized painters for viewing their art one way, and imposing that perspective on viewers.
The Pavilion, instead, allows individuals to create their own experiences, much like Kaprow’s happenings. Once again, this brings the Borgesian forking-of-paths to mind. I love the way that visitor participation is so crucial to the artists and engineers who designed The Pavilion. The art engages viewers to participate through the use of technology, combining two previously discrete realms into an innovative new form of art.

Kaprow’s Happenings were pieces of art that included spectator involvement, where he would define a parameter of activities, but let viewers participate on their own. By adding this element of spectator engagement, Kaprow created a new and revolutionary form of art–one that recalls the Borgesian forking of paths. Our nonlinear society is manifested into Happenings, in which people can choose their own ways to perceive Kaprow’s installations. This idea is interesting not only because it brings us back to Borges, but because the distinction between the viewer and the audience is heavily obscured.

One thing I really liked was how McCloud provided visual examples of comic strips utilizing different methods of space and time-manipulation. I found it interesting that McCloud employs the same methods that he describes in his own comics. For instance, a panel on page 718 is borderless, giving the reader a sense of timelessness.

Another thing I enjoyed was the page where McCloud demonstrates a series of comic strips in which the reader can choose a number of paths/strips to follow. I thought it was neat since it related back to Borges’ forking paths and how we live in a very nonlinear world.

The first instance we notice the theme is shortly after Leeloo has been “constructed”. She has just broken free from laboratory and is on the run from the police. The timbre here is piano, which expresses a sort of isolated feeling that allows the audience to sympathize with her as an otherwordly girl on the run in a world completely foreign to her.
The timbre then turns to strings as Leeloo observes this new world, conveying a sense of wonder.

Leeloo’s theme appears again when Korben Dallas is on the phone, describing his encounter with her. The timbre is piano again, this time higher. The timbre is sweet and reminiscent, suggestive of a romantic relationship about to develop.

The melody occurs once again after Leeloo has been autowashed in Korben’s shower. This time, the timbre is alto sax. This creates a much more sensuous atmosphere, as Korben dries Leeloo off. The spark between the two characters is even more blatant with the addition of this sultry timbre.

The theme emerges again in strings (cello) as the opera singer is dying and telling Korben where the stones are located. The timbre here is more intense, highlighting the importance of the information being communicated, for the stones play a key role in the fate of mankind. It also implies the significance of the events about to come.

The final timbre used for Leeloo’s theme is the toy piano. It is played as Leeloo is on the stone. The melody breaks as the evil planet is being destroyed, then resumes with Leeloo in Korben’s arms after the task is done. The timbre is very simple and delicate, indicating both ending and Leeloo’s weakness after the whole affair.

Serra does a very effective job conveying different feelings using the same melodic theme throughout the movie.
(It’s so cool that variations in timbre can express such diverse meanings!)

Lev Manovich discusses the definition of “new media” by putting it into different contexts, resulting in eight variations to define the term. I found the 7th definition, “New Media as the Encoding of Modernist Avant-Garde”, particularly interesting because it referenced a particular time period as influential. The section noted that the 1920s (specifically, 1915-1928) had a great impact on new media. During that time, avant-garde artists invented a “whole new set of visual and special languages and communication techniques that we still use today”. I found it rather eye-opening because I always thought of “new media” as completely new (’80s-present inventions); I had considered very little historical influence, especially not dating back to the 1920s!  It’s cool that a good portion of new media draws from techniques that have been in place for decades–almost even a century.

Vannevar Bush’s As We May Think argues that science should be used to make data and knowledge more accessible. He proposes a theoretical device called a “Memex” that stores a vast collection of data and material. I think it’s really cool that much of what Bush suggests in his article has been invented since then. Since the publishing of the article, computers, the internet, and other digital sources of information have been created. His article seems to have predicted or influenced a lot of the technology we have today. I completely agree that knowledge should be made more accessible, and it’s pretty incredible to think of the invention that Bush had in mind, especially since our modern methods of accessing data are so comparable to his theoretical device!
Angela Wang