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their identities. That is it from me. More from two | :00:00. | :00:00. | |
o'clock. But first it is time for Click. | :00:00. | :00:08. | |
I asked them to make a sculpture of me. But I just do not think that | :00:09. | :00:10. | |
they got the hands right. This week on Click, a digital art | :00:11. | :00:34. | |
special. We look at the works that could set the old masters spinning | :00:35. | :00:38. | |
in their graves. And as these pieces give up the | :00:39. | :00:42. | |
ghost, we also find out how you keep them alive in the decades to come. | :00:43. | :00:46. | |
Even Webscape will take us on an artistic journey. | :00:47. | :00:54. | |
Prepare to be enlightened. This is the start of Art Season in | :00:55. | :00:57. | |
London, when all the Art fair is the start of Art Season in London, when | :00:58. | :01:00. | |
all the art first ascent of Art Season in London, when all we are | :01:01. | :01:03. | |
carers descend on the city. Open to Click and welcome to a show called | :01:04. | :01:06. | |
The Other Art Fair, which opens in just a few hours. There is a frantic | :01:07. | :01:09. | |
action in the background. This place showcases a lot of innovative | :01:10. | :01:14. | |
artists. There are all showcasing new technologies into artwork. | :01:15. | :01:20. | |
Digital art is gaining ground. But it faces the inevitable question. If | :01:21. | :01:26. | |
you can create it with a computer, is it really art? | :01:27. | :01:34. | |
The finite arts Society in London, Bastian of finite. Proper art. Only, | :01:35. | :01:45. | |
look a bit closer. Something surprisingly modern is going on. | :01:46. | :01:54. | |
This is transforming the painting by Robert is Nick Carter. They have | :01:55. | :01:57. | |
spent the past few years developing something that is fairly unusual. | :01:58. | :02:03. | |
They are digital paintings. They have taken an old Master and they | :02:04. | :02:06. | |
have brought it to life in the future. It is a painting of a dead | :02:07. | :02:16. | |
frog. The sequence lasts three hours and it takes you from the frog at | :02:17. | :02:19. | |
the very beginning when it is alive to a dead frog. The digital | :02:20. | :02:26. | |
animators using 3`D sculpting brought all the techniques for the | :02:27. | :02:31. | |
first time in this unique way. The team behind the animation usually | :02:32. | :02:37. | |
work on film special effects. It shows. The detail is minute. Each | :02:38. | :02:46. | |
portion has been rendered to make the entire composition as realistic | :02:47. | :02:48. | |
as possible. The finished article is displayed on an iMac screen. The way | :02:49. | :02:58. | |
it is presented, it is supposed to look like a painting. It is a world | :02:59. | :03:02. | |
first. It has been really well received. Selling for close to | :03:03. | :03:09. | |
$100,000 a piece, Robert is Nick Carter's work plays with the line | :03:10. | :03:15. | |
between traditional and modern art. They brought to life a 17th`century | :03:16. | :03:22. | |
painting by Justus Juncker. We were fascinated by the fact that people | :03:23. | :03:27. | |
look between artworks between 4`6 seconds when they visit a museum. | :03:28. | :03:31. | |
That struck a chord with us. We want artworks that held the view and | :03:32. | :03:37. | |
engage the viewer for a longer period of time. I think the stigma | :03:38. | :03:45. | |
of artwork that plugs in is really changing. You can accept that this | :03:46. | :03:54. | |
works in museums. What I really love about these two is that they just | :03:55. | :03:59. | |
look like oil paintings. You can go right up close to them and they look | :04:00. | :04:05. | |
like oil. But there are a pair of iPads. Part of the cell is that the | :04:06. | :04:12. | |
insects behave in an unpredictable and supposedly unrepeatable way. In | :04:13. | :04:16. | |
that sense, this work of art is unique. Except that it is not. Just | :04:17. | :04:23. | |
like all digital media, video files, music files, works of art, you can | :04:24. | :04:29. | |
make a replica of this by copying the files. Hackers are yet to turn | :04:30. | :04:35. | |
their attention to our like this. But to try and address this, the | :04:36. | :04:42. | |
pieces are sold with a certificate of authenticity from the finite | :04:43. | :04:46. | |
Society. To try and copy it, to try and hack into this is impossible. | :04:47. | :04:52. | |
What is really important to remember is that museums and institutions | :04:53. | :04:56. | |
have to make sure of there are ground rules in place for how to | :04:57. | :05:01. | |
preserve these things and preserve them. New display technologies have | :05:02. | :05:09. | |
provided new tools to digital artists. This Breathing Venus is | :05:10. | :05:16. | |
just breathtaking to look at. Using an ultrahigh definition for screen, | :05:17. | :05:24. | |
it is based on this 16th century painting. It completely falls me at | :05:25. | :05:28. | |
first. The resolution was so high I did not notice the pixels. We | :05:29. | :05:34. | |
wondered what 4K screens are for. Maybe this is the answer. John Lewis | :05:35. | :05:42. | |
has commissioned a range of digital artists to make content for these 4K | :05:43. | :05:56. | |
TVs. Graffiti artist Inkie took and illustration and animated it. It is | :05:57. | :05:58. | |
the first thing where I did something where all the art in a | :05:59. | :06:02. | |
gallery was digital. The richest was the same someone with the Van Gough | :06:03. | :06:11. | |
attempt. When I first saw these artworks, I assumed they were | :06:12. | :06:17. | |
computer`generated. But this is just the result of the artist shining a | :06:18. | :06:21. | |
light on a good old`fashioned kaleidoscope. That is about as | :06:22. | :06:27. | |
analog as you can get. This will be a landmark year for television. The | :06:28. | :06:32. | |
way we are seeing art, you can invite on your smartphone, tablets | :06:33. | :06:39. | |
and all your devices. The argument goes that all art is in a sense | :06:40. | :06:46. | |
becoming digital. You can now access and much traditional art online. And | :06:47. | :06:50. | |
then there are the new forums like this. A Japanese artist has written | :06:51. | :06:58. | |
code that is only viewable online. But some vegetable artists disagree. | :06:59. | :07:12. | |
`` digital. It ruins the whole experience. The experience is seeing | :07:13. | :07:21. | |
it in the frame on the wall. We want to do the complete opposite. But why | :07:22. | :07:26. | |
choose between a real gallery and a digital one? This is a virtual model | :07:27. | :07:31. | |
of an art gallery that will be built next year. It is standing at the | :07:32. | :07:38. | |
virtual banks of the River Thames. Overlooking the entrance to the | :07:39. | :07:45. | |
gallery. On display inside, a piece of work called Trans`Lux. This is a | :07:46. | :07:53. | |
piece that acts as a portal. So we can just walk through it to access | :07:54. | :08:01. | |
another piece. A videogame engine relies lies behind this work. But | :08:02. | :08:05. | |
you can only access it during the virtual days of the virtual gallery. | :08:06. | :08:12. | |
The gravity was reversed. In a way we are playing with the rules of | :08:13. | :08:15. | |
physics. We're creating our own rules. Like off`line exhibitions, | :08:16. | :08:23. | |
after three weeks it will close. The final of the piece will then be sold | :08:24. | :08:28. | |
as a limited series of three for around ?5,000 of pop `` a piece. All | :08:29. | :08:38. | |
other files be destroyed. The rest of us will be locked up of the | :08:39. | :08:43. | |
artwork forever. New technologies will continually | :08:44. | :08:50. | |
evolve. This piece analysed the brushstrokes that Van Gough used in | :08:51. | :08:56. | |
his latest sunflowers. It then extrapolated them into a | :08:57. | :08:59. | |
3`dimensional realisation. These were then assembled into a 3`D model | :09:00. | :09:04. | |
and then 3`D printed. Just a few years ago, this would not have been | :09:05. | :09:09. | |
possible. It does make you wonder where digital art will take us. | :09:10. | :09:16. | |
I wonder whether Van Gough would have used a 3`D printer if he were | :09:17. | :09:19. | |
around today. It is just another tool. Here are some examples of the | :09:20. | :09:26. | |
newest pieces of art, the 3`D printer artists. | :09:27. | :09:30. | |
The best thing about this concept for me is that you can make stuff | :09:31. | :09:33. | |
that would be impossible to create in any other way. You can make costs | :09:34. | :09:42. | |
for this stuff. There is a 3`D printer which is currently laying | :09:43. | :09:46. | |
down layers of plastic in the background. It is working on | :09:47. | :09:51. | |
something brand`new. The guys behind this exhibit a really excited by the | :09:52. | :09:54. | |
fact that higher resolution 3`D printers which use lasers are now | :09:55. | :10:02. | |
becoming more accessible. What digital art from Click in a couple | :10:03. | :10:05. | |
of minutes after a look at this week's technologies. Snapchat, an | :10:06. | :10:13. | |
application that is supposed to caused voters to solve the struck, | :10:14. | :10:20. | |
has had its central data base ability to self`destruct opera most. | :10:21. | :10:25. | |
Snaphack claims to be able to permanently save photographs. The | :10:26. | :10:30. | |
company has admitted to handing over a nude photographs to US law | :10:31. | :10:36. | |
enforcement authorities. First Google Glass and then aura. | :10:37. | :10:43. | |
2014 is going to be a busy year for augmented reality. The market is set | :10:44. | :10:51. | |
to be even more crowded. These classes work differently to other | :10:52. | :10:55. | |
models. They are fitted with tiny projectors which project 3`D images | :10:56. | :11:01. | |
on to reflect that surfaces. The user sees an image which looks like | :11:02. | :11:08. | |
a hologram. The project is funded from Kickstarter. Google is facing a | :11:09. | :11:14. | |
backlash over plans to use Google+ social network data in | :11:15. | :11:18. | |
advertisements. The changes will see names and | :11:19. | :11:21. | |
photographs appear below the advertisements of businesses. As a | :11:22. | :11:28. | |
protest, some users have Schmidtified their profiles, | :11:29. | :11:31. | |
replacing their own photograph with Eric Schmidt. A similar schemes or | :11:32. | :11:40. | |
Facebook shutting out $20 million in compensation after users were not | :11:41. | :11:47. | |
asked permission. Google uses says `` says users can opt out of the | :11:48. | :11:52. | |
service. And there is Wi`Fi at the bottom of Lake Erie. | :11:53. | :11:57. | |
The University of Buffalo created an underwater wireless network there. | :11:58. | :12:04. | |
Currently, data gathered underwater is difficult to share. That is why | :12:05. | :12:10. | |
the team want to create a standardised underwater | :12:11. | :12:12. | |
communication system for everybody. Can't see it being much of the | :12:13. | :12:17. | |
format there. One of the great things about | :12:18. | :12:22. | |
traditional art is that by the hundred years after you paint it, | :12:23. | :12:27. | |
you can still hang it in a gallery. Whereas a lot of the digital | :12:28. | :12:31. | |
artworks were light and technology which tend to go wrong every few | :12:32. | :12:37. | |
years. What happens when your expensive piece of digital art | :12:38. | :12:44. | |
breaks down or becomes obsolete was to mark we went to Germany to find | :12:45. | :12:48. | |
out. This is one of the most important | :12:49. | :12:55. | |
digital artworks in the world. There is one problem, it is broken. | :12:56. | :13:03. | |
Fortunately, its home is the home of digital art restoration. The ZKM in | :13:04. | :13:09. | |
Germany. The experts will have it up and running again. It may not look | :13:10. | :13:14. | |
like much, but this classic piece is worth over $1 million. Created in | :13:15. | :13:22. | |
1989 by Jeffrey Shaw, Legible Cities is one of the first real`time | :13:23. | :13:26. | |
interactive digital artworks. The faster you paddle, the faster the | :13:27. | :13:31. | |
words appear on the screen. The original software has already been | :13:32. | :13:36. | |
ported. So it can now run on modern`day computer hardware. This | :13:37. | :13:40. | |
process is time`consuming and very expensive. ZKM is the place to come | :13:41. | :13:48. | |
if your digital artwork breaks down. This museum has the largest | :13:49. | :13:54. | |
collection of native digital art. Many other pieces rely on | :13:55. | :13:58. | |
maintaining old hardware and equipment that is no longer | :13:59. | :14:03. | |
produced. This is Bar Code Hotel, an early 3`D digital work from 1994. | :14:04. | :14:07. | |
Let me show you how it is being powered. | :14:08. | :14:13. | |
Away from the eyes of museum visitors, in this car bed, there is | :14:14. | :14:19. | |
a purple Silicon graphics computer. This became obsolete, out of | :14:20. | :14:24. | |
production, 16 years ago. The museum tells as they have got ten of them | :14:25. | :14:28. | |
left, but they have no idea how long they are going to last. It is up to | :14:29. | :14:32. | |
the technicians to try to prolong the life of these obsolete machines. | :14:33. | :14:38. | |
This is the site fountain. It is from 1993 and was made by pioneering | :14:39. | :14:44. | |
digital artist named Empire. It was made from 14 original cathode`ray TV | :14:45. | :14:49. | |
sets, which are being pared all the time. It belongs to a private | :14:50. | :14:53. | |
collection in Switzerland, but they could not afford to maintain it | :14:54. | :14:58. | |
themselves, so the ZKM spends about $8,000 a year on preservation. Part | :14:59. | :15:05. | |
of the team behind this work is Doris Mueller. She works in the | :15:06. | :15:10. | |
museum's laboratory for antiquated video systems. She has 300 devices | :15:11. | :15:23. | |
at their disposal. We are in the middle of where it is at. We are on | :15:24. | :15:28. | |
the table. All the old video machines. We need to play open | :15:29. | :15:37. | |
RealVideo. They worked with these machines. This is an antique Blu`ray | :15:38. | :15:45. | |
disc. What is it? It was a laser disc and it was used in the late 70s | :15:46. | :15:49. | |
to play karaoke movies in bars and restaurants. Some of the | :15:50. | :15:56. | |
installations were still running from laser discs just until a couple | :15:57. | :16:02. | |
of years ago. So the reason for collecting all of this historic and | :16:03. | :16:05. | |
obsolete equipment is to showcase the art in its authentic form. But | :16:06. | :16:11. | |
in reality, this is not sustainable. That is why we need a second | :16:12. | :16:17. | |
strategy, which is migrating the work, migrating the darker of the | :16:18. | :16:23. | |
work, to a different platform, or even porting the programme to a | :16:24. | :16:30. | |
different system. To a different computer system, which is quite | :16:31. | :16:36. | |
complicated, and quite expensive. As well as migrating works, the files | :16:37. | :16:41. | |
behind the Art need to be stored. In the past, they were contained in | :16:42. | :16:46. | |
this giant jukebox. Dozens of CDs and DVDs holding just 1 terabyte of | :16:47. | :16:52. | |
darter. Now, these six draws in the server room act as an archive. It | :16:53. | :16:58. | |
holds 40 TB, and it is backed by a magnetic tapes, which they say is | :16:59. | :17:04. | |
more reliable. Although, all these efforts are not without controversy. | :17:05. | :17:06. | |
There is no consensus in the art world as to whether the wing to the | :17:07. | :17:12. | |
lengths to preserve digital art is the right thing to do. People | :17:13. | :17:18. | |
thought that digital technology is without any substance, so it will | :17:19. | :17:24. | |
exist. It must just be copied from one hard disk to the other hard | :17:25. | :17:28. | |
disk. But that is not the only solution. Since we have system | :17:29. | :17:36. | |
change in hardware and in software, the artwork is normally been lost | :17:37. | :17:41. | |
quite suddenly. Most of the artists to not think about that. Whatever | :17:42. | :17:45. | |
the disagreements, classical digital art would be lost for ever it | :17:46. | :17:50. | |
presaged `` preservation solutions do not evolve, and that means future | :17:51. | :17:53. | |
generations will miss out on this million`dollar digital experience. | :17:54. | :18:00. | |
I am pleased to say that she did not break the bike again. | :18:01. | :18:05. | |
Artists will continue to find new ways of being creative, whatever the | :18:06. | :18:10. | |
medium they choose. In New York, Banksy is proving just that point. | :18:11. | :18:15. | |
He has had a campaign of street art which features cars, trucks, and | :18:16. | :18:20. | |
audio tracks. It is time for Kate Russell to be creative, using the | :18:21. | :18:24. | |
medium of Webscape, on the vast canvas that is the internet. | :18:25. | :18:36. | |
Creativity is all around us, but if you cannot get to the art, why not | :18:37. | :18:41. | |
bring it to you, with the help of online projects, like the free | :18:42. | :18:45. | |
sculpture guide, and app released this week on iOS and android. Its | :18:46. | :18:50. | |
primary function is to be a guide for those visiting the sculpture | :18:51. | :18:53. | |
Park in London, but art lovers from all over the world can download it | :18:54. | :18:59. | |
to learn about the turnkey contemporary installations featured | :19:00. | :19:01. | |
in the park, and their creators. `` 20. Another amazing artistic | :19:02. | :19:18. | |
exploration takes is on a trip down the rabbit hole, with the kind of | :19:19. | :19:22. | |
incredible visual journey that only the interactive web can deliver. | :19:23. | :19:32. | |
Intranet is. `` intranet is. Gazing at this site as you sink deeper and | :19:33. | :19:35. | |
deeper into the delightful graphics and lose yourself in the ambient | :19:36. | :19:41. | |
sound effects and occasional quote from the book, it is hard not to | :19:42. | :19:46. | |
imagine how Dorothy must have felt. We are definitely not in Kansas any | :19:47. | :19:53. | |
more. If you need your internal location markers reset after such a | :19:54. | :19:57. | |
fantastical journey, here is something a bit closer to home. | :19:58. | :20:02. | |
Geoflickr. A selection of geo` tagged public photos that are close | :20:03. | :20:07. | |
to your location, from popular image sharing platform flick. You can | :20:08. | :20:11. | |
enter whatever location you want, so it can also be useful for checking | :20:12. | :20:15. | |
out what sites may be worth seeing when planning a trip further afield. | :20:16. | :20:28. | |
Once you come back from that trip with a hard drive full of stunning | :20:29. | :20:32. | |
digital photographs, give them a worthy home on the Web, with | :20:33. | :20:36. | |
SmugMug. Choose a portfolio templated, and customise it as much | :20:37. | :20:41. | |
and as many times as you like, in order to elegantly display your | :20:42. | :20:46. | |
digital life as a website. You can upload videos as well, and even use | :20:47. | :20:49. | |
the site to sell images to your fans. Unlike some of the other | :20:50. | :21:04. | |
popular photo sharing sites, SmugMug is completely private, and that does | :21:05. | :21:08. | |
not strip any of the meta data out of your photos and videos, which | :21:09. | :21:12. | |
means that a digital tag of your ownership and any other details you | :21:13. | :21:17. | |
have chosen to include, such as location and contend, will remain | :21:18. | :21:21. | |
embedded in your files wherever they travel on the Web. This service is | :21:22. | :21:25. | |
not free, but I think you have to axe it these days that if you are | :21:26. | :21:28. | |
not paying for something, you can thus be expected to be treated like | :21:29. | :21:34. | |
a customer. `` have to accent. But you do get a free 14 day trial with | :21:35. | :21:39. | |
SmugMug, and it is hard to resist the stunning platform that you can | :21:40. | :21:41. | |
personalise for sharing own creations. If you just want to share | :21:42. | :21:53. | |
the odd by all, take a look at ge.tt. You can use it in any browser | :21:54. | :21:58. | |
without any plug`ins or installations. You do not even need | :21:59. | :22:01. | |
to register, but doing so would increase your free storage limit, up | :22:02. | :22:07. | |
to two geeks. There is a Chrome extension as well if you prefer `` | :22:08. | :22:14. | |
prefer. It works in real`time. You upload your stuff and it does not | :22:15. | :22:17. | |
need to be finished before you can share the link, and others can start | :22:18. | :22:22. | |
downloading it. You also get on my statistics, which will be useful if | :22:23. | :22:26. | |
you are sharing content for promotional work purposes. Use the | :22:27. | :22:31. | |
links to share our cross the main social platforms, or just e`mailed | :22:32. | :22:36. | |
it to a recipient. This is not an ultra` secure stash for sensitive | :22:37. | :22:39. | |
files, although your files are semiprivate, so only those with a | :22:40. | :22:44. | |
direct download link should be able to find it. It is a great tool for | :22:45. | :22:48. | |
easy sharing it could see not an issue. `` privacy. As we have seen | :22:49. | :22:57. | |
today, the Web is a great playground, but you need to | :22:58. | :23:01. | |
understand the dangers as well. For some people, this can be a | :23:02. | :23:04. | |
challenge, and dare I say it, crushingly dull? Internet security | :23:05. | :23:12. | |
specialist Trend Micro have taken the unusual step of turning a white | :23:13. | :23:17. | |
paper on the subject of cyber crime, Project 2020, into a serialised web | :23:18. | :23:23. | |
drama, Hollywood style. It turns the tough technical information into a | :23:24. | :23:26. | |
related bull piece of fiction that we can all understand. `` relatable. | :23:27. | :23:33. | |
Tune in, where episode three of nine was released this week. Those links | :23:34. | :23:53. | |
are all up at our website. You will also find regular updates | :23:54. | :23:57. | |
to your tech news and various old bits of the programme to watch. If | :23:58. | :24:01. | |
you would like to get in touch with us, feel free to email us. | :24:02. | :24:07. | |
Thank you very much for watching. This weekend, the chances are that | :24:08. | :24:32. | |
you will get rained on on at least one of the days, but at least it is | :24:33. | :24:38. | |
mild. It has recently been very mild. Friday it was 18 degrees. The | :24:39. | :24:44. | |
average is close to 14 degrees. It is only in the far north of Scotland | :24:45. | :24:47. | |
where temperatures are a fraction below the average. Nine degrees, the | :24:48. | :24:53. | |
October average is 11. This mild air which has been coming from the | :24:54. | :24:56. | |
south`west in the last few days is here | :24:57. | :24:58. |