GD for the Web

Tina Han

A3 Final /

R8 /

1. what kind of power does the non-physical space of the web allow Anonymous to have?
2. Social media relies on authentic identities, even though the validity of its authenticity may be debatable. Should everything be anonymous? Are you personally fond of anonymity on the web?
3. How is anonymity viewed online versus offline?

R9 /

1. is internet as democratic as it promises to be
2. who holds ownership of our data
3. can we trust the cloud

R7 /

1. why do people want to archive data
2. what is it about the digital age that allows us to re appropriate and look at archived information differently
3. what does it mean to curate something on the internet

R5 /

1. What is it about simple interactions that makes them so interesting?
2. Should all UI be designed to achieve a certain reaction from the audience?
3. “interface and artists are an antagonistic pair.”

R4 /

1. are email spams art? Does it have to be orchestrated by human touch in some way for it to be even considered art?
2. Bakkila says that Horse_ebooks was designed to be emotional. Without knowing that it was written by a human, would it still achieve that effect? What is it about the “tension between human and the artificial” that makes it so emotional for the readers?
3. What kind of response do we give if machines pretended to be humans

R3 /

1. In a labyrinth structure, is it important to visit every existing corner? Or is the experience of finding possible corners more important?

2. Most stories have a linear timeline–beginning, middle and end. How does having a branch structure affect the story?

3. Viewers can get perpetually lost in websites with too many hyperlinks(ex. Wikipedia, Youtube: “I’m in the weird side of Youtube again”) and end up somewhere far from where they began. What are ways to help guide the viewer to the “end” or back to the beginning?

R2 /

1. “Web art” can gain momentum by distribution, redistribution, recontextualisation, customization … What value does the original or the beginning source have? Is it changing?

2. If the internet is an archive of fragments of the whole information, how does the audience, or the public—yes, you!—make sense of these broken information?

3. Should ‘web art’ be inclusive to all audiences? Is it democratic

A4 final /

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Presentations /

Collectives/Mobs and the web