DIAMOND VARIATIONS

MELTING SIGNALS

2012-01-29T12:22:00.001-05:00

I just bought this little analog mixer from classified adds. I couldn't find any informations on the AZDEN VPC-10 on the web; it's a very basic video mixer with which I can control colors, textures and make simple wipes and transitions. Here is an excerpt of my first experiments...

TOM DeFANTI

2012-01-23T14:40:00.001-05:00

In 1973, he joined the faculty of the University of Illinois at Chicago. In the next 20 years at the University, DeFanti has amassed a number of credits, including: use of EVL hardware and software for the computer animation produced for the Star Wars movie. With Daniel J. Sandin, he founded the Circle Graphics Habitat, now known as the Electronic Visualization Laboratory (EVL). DeFanti contributed greatly to the growth of the SIGGRAPH organization and conference. He served as Chair of the group from 1981 to 1985, co-organized early film and video presentations, which became the Electronic Theatre, and in 1979 started the SIGGRAPH Video Review, a video archive of computer graphics research. http://www.calit2.net/people/staff_detail.php?id=67

Live performances, real-time instruments:
Spiral 5 PTL (Perhaps The Last) 1979

Dan Sandin, Tom DeFanti, and Mimi Shevitz
Live recording of performance before a small studio audience

Video by Tom DeFanti and Barbara Sykes

ART AND THE COMPUTER - MELVIN L. PRUEITT

2012-01-11T16:38:00.016-05:00

All the following images are taken from Melvin L. Prueitt's book Art and the Computer.

The human visual system integrates line segments into subjectively perceived surfaces. (1982 Melvin L. Prueitt)

Richard F. Voss used fractal geometry to produce a very realistic scene. (1982 Benoit B. Mandelbrot, IBM Thomas J. Watson Research Center)

"Artic Twilight." Experimenting around with an erosion program. (1982 Melvin L. Prueitt)

"Concession to Scifi." There are number of ways to create abstract art with a computer. (1980 Darcy Gerbarg)

"Vanishing Essence." The reason that these plates are effective in producing a pleasant picture is that our visual systems are able to connect them together into unified curving surfaces. (1983 Melvin L. Prueitt)

Vibeke Sorenson's computer graphics design class in the Department of Communication Arts and Design at the Virginia Commonwealth University found that home computers could produce colorful patterns.

This was produced by James Squires as a graduate student using a Chromatics 7900 in the Fine Arts Department of UCLA.

"Rainbow Valley." The stripes in the rainbow actually consist of bent tubes. (1982 Melvin L. Prueitt)

KO NAKAJIMA

2012-01-04T13:21:00.003-05:00

Ko Nakajima is one of the pioneer Japanese artists of video art. After beginnings in animation video, he made use of new technologies to appropriate and develop different softwares that allowed him to create veritable visual collages in movement. Each work is the expression of a unified research, progressively unveiled in the process of discovery of a life’s oeuvre.
Mount Fuji dates from the year 1984, at a time when Nakajima had already affirmed his style of manipulating images, and had established his universe distinguished by elements of nature and infused with Oriental philosophy. This tape is emblematic of the researches he conducted thanks to the invention of the aniputer, a machine which allows one to distort, superpose and embed images with ease, created in collaboration with JVC’s research department. Against the rhythm of repetitive music, different images of Mount Fuji compose geometric structures forming a Rubik’s cube’s perspectival frame, cut through by photographs which regularly come and drift away before the spectator.
Mount Fuji is a highly mystical site in Japanese culture, a religious and national symbol. It is at the heart of numerous works, placing man in relation to a mountain’s ancientness and its fundamental ambiguity – the possibility of a volcanic eruption dwells within the impression of stability and permanence. Playing with static and flat images that cut across the screen, Nakajima brings to mind the tectonic drift of plates which could at any time erase the benign image of Mount Fuji.

http://www.newmedia-arts.be/cgi-bin/show-oeu.asp?ID=150000000034495&lg=GBR

Activated Memory I & II

2011-12-30T17:52:00.004-05:00

Activated Memory is a two video project based on animated photographs of different parks and buildings of Montreal. Through the use of video feedback, 3D animation and color manipulations, the pictures render a new kind of space, a virtual world where only fragments of "reality" subsist. The music accompaniment is composed by Roger Tellier-Craig.

Activated Memory I is a journey through a serene landscape where the trees and fields are at once surreal and familiar.Through the use of video feedback, 3d animation and color manipulations, the pictures render a new kind of space, a virtual world where only fragments of "reality" subsist. This video was created for The Download Program of Rhizome.org. Music composed by Roger Tellier-Craig.

Activated Memory II, created for bubblebyte.org, uses buildings as the main subject of observation. As a counterpoint to parks (Activated Memory I), buildings are characterised by angular forms and opaque surfaces. Architecture is used as a point of departure to create instability. Buildings discompose their limits into the frame while the geometric original shapes and dimensions of the image loose control to create an entrance to a chaotic space where forms become liquid. Music composed by Roger Tellier-Craig.

------------------------------

The videos are also part of a solo show starting today on bubblebyte.org.

PETER CHAMBERLAIN

2011-12-27T17:54:00.002-05:00

Hard to find informations about Peter Chamberlain, but here is an inspiring video.

UNDERSTANDING COMPUTERS

2011-12-19T15:32:00.012-05:00

I found this book for a dollar in a second hand bookstore this weekend. I was thrilled.
This volume is one of a series that examines various aspects of computer technology and the role computers play in modern life. Computer Images, Understanding Computers, Time-Life Books, Alexandria, Virginia, 1986

Cover: Interlinked toroidal, or dougnut-like, shapes and cut-apart surface that unwraps from one toroid onto the other represent, in effect, a three dimensional space - an image virtually impossible for humans to visualize before the advent of the computer.

Artist Mark Lindquist created this portrait with a computer graphics paint system in much the same way that oils are applied to canvas. The image began as a rough, charcoal-like sketch to which the artist then added color, sparingly at first, but with increasing complexityas the work progressed. "I feel the most fluent, freest, working on the computer,"said Lindquist. "I love the idea of working with light rather than paints."

Melvin Prueitt

David Em

The main challenge presented by Rowes Wharf, a commercial building planned for the waterfront in Boston, was to design a structure that would blend esthetically with the city. Architects, thus spent much of their computer time creating models such as this one - a view of the Wharf with its surfaces filled in, integrated with a wire-fame view of the Boston skyline.

To generate this realistic rendering of the finished wharf, an artist called up a model and designated surfaces, colors, angle of light and point of view.

ELEANOR KENT

2011-12-16T16:00:00.007-05:00

Landscape #2, 1986
cibachrome print from Apple lle, dimensions variable

Raspberry, 1983
cibachrome print from Apple lle, dimensions variable

New Suns, 1983
cibachrome print from Apple lle, dimensions variable

Init Hello, 1983
cibachrome print from Apple lle, dimensions variable

Seahorse, 1988
cibachrome print from Apple lle, dimensions variable

YOICHIRO KAWAGUCHI

2011-12-02T21:07:00.010-05:00

Born in Tanegashima Is, Kagoshima Prefecture in 1952. Creating Computer Graphics since 1975, he is an internationally acclaimed CGI artist. He achieved a unique style using his "GROWTH Model", a model based on growth algorithm. Selforganinzing artificial life media metropolices and highly dense creations of primal wildness represent sailent characteristics of his work. http://individuals.iii.u-tokyo.ac.jp/~yoichiro/profile/profie.html

FICTIONS DVD

2011-12-01T15:31:00.007-05:00

The DVDs of my video work for Le Révélateur are now officially available on Thrill Jockey!

//ACRYLIC PAINTINGS//

2011-11-28T09:37:00.011-05:00

George Snyder

Masoud Yasami

EQUINOX COMPUTER GRAPHICS SPECIAL

2011-11-20T00:06:00.003-05:00

Equinox Computer Graphics Special 1988. This is a one off Equinox computer graphics special documentary. It was first shown on UK Channel 4 back in 1988.

Part 1

Part 2

Part 3

Part 4

Part 5

GERHARD RICHTER

2011-11-18T00:09:00.016-05:00

Overpainted photographs.
http://www.gerhard-richter.com/

NEWS

2011-11-10T17:28:00.008-05:00

A lot of exciting news this month concerning my personal work. I thought I'd share! First, this week Roger Tellier-Craig AKA Le Révélateur and I had the chance to be invited to the Montreal Sessions, a radio show on CKUT, curated this month by Natasha Pickowicz. We played some music that inspired our work, and discussed about our projects among many other things. You can listen to the show here. (November 8th).

Other great news came from the San Francisco Label Root Strata.
A DVD of my work with Le Révélateur will be released on November 15th and 100 copies will be available to purchase online. Maxwell August Croy from the label did a great job designing the sleeve and the DVD cover from still images of the videos. I'll post more informations about it later.

I have also contributed to the online and printed magazine I WANT YOU, and it is out now! You can give a look here.

And finally, Le Révélateur and I will play a concert with new material at Casa Del Popolo this Saturday. The line-up is awesome (Steve Hauschildt + Driphouse + Souffle) so if you are in Montreal come check it out! The poster was made by the talented collage artist (and musician) Félix Morel.

DUNCAN BRINSMEAD

2011-11-02T11:17:00.009-04:00

Siggraph Presentation

Amiga: Some of Duncan’s Original Work

website

ECLIPSE /// EVELYN C. HIRATA

2011-11-01T20:23:00.001-04:00

I stumbled upon this video on youtube. Absolutely gorgeous.

LAURA BROTHERS

2011-10-27T16:25:00.012-04:00

Stunning images by Laura Brothers... Please, check out her blog to see her drawings in the right resolution so you can see the flickers when scrolling down... Also, here is a nice interview she did for rhizome.

JOHN C. WASH

2011-10-25T09:39:00.002-04:00

FEMMINIELLI /// ATLANTIDA

2011-10-17T18:18:00.003-04:00

Music video for Femminielli. Experiments with basic 3D animation...

THE LUMINISTS // Dancing Calligraphy // 1992

2011-10-13T19:05:00.003-04:00

Charles Cohen - audio
Eric Schefter - video
(1992)

Dancing Calligraphy was created at ETC in Jan. 1992, and edited later that year. In this piece we slowly strip away the layers of processing to reveal the source feedback that forms the basic ground from which the imagery arises.

In Dancing Calligraphy, the imagery was created utilizing control voltages from Charles' analog Buchla Synth controlling the Paik Raster Control Unit, the Jones Colorizer, and Jones Sequencer. We also used MidiMice and Buchla's Thunder midi controller to trigger DPaint4. The DPaint4 image cut a key in the video, revealing the many layers of processing that make up the final image.
http://datagarden.org/2656/beeps-and-boops-in-perspective/
http://vimeo.com/ursullivision
Thanks to Alex Tyson for this discovery.

REACTION-DIFFUSION /// EVA SCHINDLING

2011-09-28T17:34:00.006-04:00

Computational reaction-diffusion systems mimic chemical pattern formation in nature. A mixture of two or more chemicals that react with each other and have different diffusion rates forms macroscopic patterns in time and space of chemical concentration. The chemical mixture stays in a continual flux and therefore far from equilibrium.

Alan Turing was the first one who proposed reaction-diffusion systems as a theoretical idea to explain biological morphogenesis. It demonstrates how breaking and pattern formation can arise out of a homogeneous, uniform state.

The Belousov-Zhabotinsky reaction is a special non-equilibrium system that works as a chemical oscillator as it cycles through its different states in autocatalytic fashion. If unmixed the diffusing chemicals spread and cause spirals to emerge and grow.

Also, give a look at her inspiring website filled with inspirations, projects, research, links etc. http://www.evsc.net

ACTIVATED MEMORY

2011-09-24T16:12:00.015-04:00

Stills taken from a serie of videos in progress that I have entitled "Activated Memory". I'm using photographs that I take of Montreal parcs and houses and I animate them in order to create enclosed gardens and artificial environments.

VOL LIBRE /// LOREN CARPENTER

2011-09-18T12:19:00.002-04:00

I made this film in 1979-80 to accompany a SIGGRAPH paper on how to synthesize fractal geometry with a computer. It is the world's first fractal movie. It utilizes 8-10 different fractal generating algorithms. I used an antialiased version of this software to create the fractal planet in the Genesis Sequence of Star Trek 2, the Wrath of Khan. These frames were computed on a VAX-11/780 at about 20-40 minutes each.

AGE MAZE /// Le Révélateur

2011-09-07T15:19:00.002-04:00

Video for Le Révélateur

Age Maze along with Bleu Nuit and Mirages will be released on DVD this October by the San Francisco label Root Strata.

EDUARDO PAOLOZZI

2011-08-30T14:28:00.027-04:00

VIDEO FEEDBACK - WILLIAM GWIN

2011-08-24T14:18:00.008-04:00

Excerpt from:
Gwin, William. Video Feedback: How to Make it; An Artist's Comments on its Use; A System Approach. San Francisco, CA: National Center for Experiments in Television at KQED, undated.

WALTER VERDIN

2011-08-23T19:30:00.002-04:00

I keep coming back on this video as an inspiration...
Check out also A melody by Walter Verdin on The Sound of Eye

ARTMATIQUE - ROBERT CAHEN - 1981

2011-08-15T01:08:00.007-04:00

Cette œuvre faite de glissements de matières et de couleurs est conçue pour retenir le regard. Elle montre la forme suggestive de certains mouvements en retenant comme en écho l'empreinte de la trajectoire des images les plus signifiantes. Le système informatique utilisé, le S.M.C., a été mis au point par Jean-François Colonna au Lactame, l'un des laboratoires de l'Ecole Polytechnique : il permet de figer une image, de la numériser (en 1980 c'est une première et une prouesse technologique) et de la coloriser en direct. Le programme de traitement des images a été choisi par Dominique Belloir. 1981 / U Matic / Couleur / 4’ 15

More videos by Robert Cahen here

LE MESSAGE SIDÉRAL - HERVÉ NISIC - 1983

2011-08-11T23:49:00.007-04:00

Les images qui vous sont présentées ont été recues par la station astronomique de Lançay. Elles ont été tenues secrètes à ce jour... 10'22

http://grandcanal.free.fr/

STATION BALNÉAIRE /// VARIATION I

2011-08-01T13:39:00.003-04:00

Images of the Almalfi Coast have been transformed by video feedback. The rigid transitions, inspired by early computer art, contrast with the aleatory movements of the electronic light.

Music by Roger Tellier-Craig

Il Labirinto di Cristallo

2011-07-28T23:49:00.008-04:00

bubblebyte.org is pleased to present Il Labirinto di Cristallo, a collective exhibition by diverse International practitioners working around the themes of Oceano, Futuro, Industriale and Azteca.

The show, inspired by the early 1990s British TV program “The Crystal Maze”, is conceived as a journey set around different areas, visions and artistic approaches, stressing and stretching visual possibilities in a playful and kaleidoscope mode that flirts with space and time displacement.

The diversity of vision and artistic approach allows discovery and experimentation, constantly crossing the line between imagination and reality, virtual and factual, abstract and actual, leading visitors throughout a multilayered and unexpected random wandering.

http://bubblebyte.org/

LA DIMENSION PROCHAINE

2011-07-21T20:37:00.016-04:00

Stills from video experiments made using vintage postcards bought in Positano.

COMPUTER GRAPHICS - COMPUTER ART

2011-07-10T21:05:00.010-04:00

Herbert W. Franke, 1971 (Preface to the first edition):

The works from computers nowadays covered by the term computer art are in my opinion among the most remarkable products of our time:
-not because they surpass, or even approach, the beauty of traditional forms of art, but because they place established ideas of beauty and art in question;
-not because they are intrinsically satisfactory or even finished, but because their very unfinished form indicates the great potential for future development;
-not because they resolve problems, but because they raise and expose them.

Herbert W. Franke, Computer Graphics - Computer Art, Second, Revised and enlarged Springer-Verlag Berlin Heidelberg, 1985

STATIONS BALNÉAIRES

2011-07-07T16:45:00.013-04:00

Over the last few months, I have been working intensively on the footage I got from Positano and Capri. Out of this footage, I made an 8 minute video called Station Balnéaire for a show at the Ghost Gallery in Seattle, curated by Christian Petersen (including the work of Sara Ludy and Nicolas Sassoon among others). More info HERE. I also produced a series of stills taken from the video which will be posted soon on the site of their online magazine I Want You. It's worth taking a look at their website, there are some really amazing images. (Check out Stellar Om Source)

I am also working on a live video projection that will take place at the Montreal Gallery Espace Projet organised by Le Phosphène Ciné-club. Roger Tellier-Craig will accompany my images with his great electronic music and it will be very different from what we usually do with Le Révélateur. This will happen next Wednesday, July 13. Here are various stills taken from my experiments with these inspiring landscapes.

BERNARD DEMIAUX

2011-07-01T11:10:00.008-04:00

Si le cinéma apporte le mouvement, si la vidéo le feed-back, on peut dire que l'ordinateur apporte l'intéractivité et notamment la manipulation de symboles. Il faut utiliser chaque outil selon sa spécificité.

Nous travaillons surtout à partir d'une image synthétique que nous créons directement dans la mémoire de l'ordinateur qui permet, à partir de calculs complexes, de donner des règles de composition de musiques ou d'images.

Ensuite, par algorithmes adéquats, c'est l'ordinateur qui pourra choisir les images; l'artiste étant en position de réception, d'écoute, pourra déterminer ou laisser émerger les images qui correspondront le plus à son idée de création.

(extrait de la conférence faite à Imagina à Monaco en 1982 pour le Groupe Module Digital Art.)

Bernard Demiaux's website - click on the link to download the video

Feu d'artifice dans la constellation du signe - Paris 1978

Fugue en bleu pour Siloé - Paris 1979

Album de famille - Imagina Monaco - 1982

DATABASE OF DIGITAL ART

2011-06-24T02:17:00.010-04:00

Amazing website where I discovered artists or new images from artists that I already love...
http://dada.compart-bremen.de/

Manfred Mohr

Miroslav Klivar

Peter Kreis

Otto Beckmann

Lillian Shwartz

Ken Knowlton

Jürgen Claus

Jürgen Brickmann

MARY ELLEN BUTE

2011-06-22T10:53:00.023-04:00

"For years I have tried to find a method for controlling a source of light to produce images in rhythm. I wanted to manipulate light to produce visual compositions in time continuity much as a musician manipulates sound to produce music."

http://www.centerforvisualmusic.org/Bute_Statements.htm

ELECTRONIC LANDSCAPES

2011-06-19T22:00:00.004-04:00

Maryann Norman

Chris King

Zahid Jiwa and Miko Revereza

NORMAN MCLAREN

2011-06-17T01:07:00.012-04:00

While film was McLaren’s favourite medium he also produced paintings, pastels and screenprints in parallel with his film work, these artistic works reflecting the styles and techniques he was developing on screen. He did two series of screenprints, 'Mutations' and 'Interplay'. www.guildegraphique.com

Mutation II - sérigraphie

Mutation III - sérigraphie

Mutation VII - sérigraphie

Mutation IV - sérigraphie

Lenescape - sérigraphie

Stress - sérigraphie

ANDREW DAVIDHAZY

2011-06-09T09:43:00.012-04:00

http://www.davidhazy.org/andpph/pictures.html

Glassine film sleeve by Polarization

Crumpled cellophane by Polarization

Glassine film sleeve by Polarization

Plastic triangles by Polarization

Stroboscopic photo of jumping girl in action

Self-portrait Infrared heat image or thermogram

PAT O'NEILL - 7362 -1967

2011-06-05T22:08:00.002-04:00

16mm, 10 minutes, Sound Design: Joseph Byrd
Pat O'Neill's website

STEVO WOLFSON - SYNOID (1983)

2011-06-02T13:32:00.007-04:00

Pure video feedback with no special effects or processing of any kind, although the completed video has a few edits. The patterns were changed by slightly adjusting the camera aperture and focus.

The audio was created with various analog synthesizers configured to produce oscillating sequences and were not modified or altered during recording.

http://siys1.fortunecity.com/videoart.html
Also check out Video Circuits for more infos

DUPOUY MOVICOLOR VIDEO SYNTHESIZER

2011-05-25T06:16:00.005-04:00

http://videoheads.info/
http://www.youtube.com/user/VideoheadsNL

PAYSAGES VIRTUELS

2011-05-19T13:05:00.014-04:00

Images are taken from the book Paysages Virtuels, Image Vidéo, Image de Synthèse, Éditions DIS VOIR, Paris 1988

Synthèses de vagues, Alain Fournier, Pixar

Simulation de la mer, CCETT

Digitalisation d'un visage, David Niles, Captain Vidéo

Visualisations de paramètres urbains, Archi Vidéo

Servante Maîtresse, Opéra de Pergolèse, réalisation D. Brunner

Apesanteur intérieure, Cycle: Architecture fantastique, Sabine Porada

JEAN PICHÉ & JoAnn GILLERMAN - "Whispers in a Plane of Light" - 1983

2011-05-18T11:23:00.007-04:00

"Whispers" must be one of the earliest interactive videomusic works on record. A Fairlight CMI sampling computer was used to perform the music and control a Sandin Image Processor through a 16 channel analog control interface.

Jean Piché, Fairlight CMI, Voice
Jody Gillerman, Sandin Image processor
Jim Whitaker, Live Camera
Gretchen Bright, Model
http://www.jeanpiche.com/

HENRI JACOBS & JORDAN BELSON

2011-05-15T13:38:00.007-04:00

THE VORTEX CONCERTS

Allures par escaton82

The legendary Vortex Concerts conducted by Henry Jacobs and Jordan Belson at Morrison Planetarium in San Francisco's Golden Gate Park from 1957 to 1960 were quintessential examples of lumia art integrated with sound in an intermedia environment. By present standards one could not ask for a more perfect setting. "Simply being in that dome was a holy experience," said Belson. "The entire theatre was like an exquisite instrument. (...)

Vortex began in May, 1957, as a series of experimental and ethnic music concerts from tapes owned by Jacobs, a poet and composer of electronic music. Within a few weeks, however, he was joined by his friend Belson, and Vortex became an experiment in visual and acoustical space. The sixty-foot dome was surrounded at its perimeter by thirty-six loudspeakers clustered in equally-spaced stations of three speakers each. There were two large bass speakers on either side and one at the zenith of the dome. Speakers were installed in the center of the room, bringing the total close to fifty sound sources. "The acoustics were very unusual," Belson remarked. "Very hushed, and you could hear any sound no matter how far away, as though it were right behind you, because sound carried over the dome."

"We could tint the space any color we wanted to. Just being able to control the darkness was very important. We could get it down to jet black, and then take it down another twenty-five degrees lower than that, so you really got that sinking-in feeling. Also we experimented with projecting images that had no motion-picture frame lines; we masked and filtered the light, and used images that didn't touch the frame lines. It had an uncanny effect: not only was the image free of the frame, but free of space somehow. It just hung there three dimensionally because there was no frame of reference. I used films— Hy Hirsh's oscilloscope films, some images James Whitney was working on for Yantra, and some things which later went into Allures— plus strobes, star projectors, rotational sky projectors, kaleidoscope projectors, and four special dome-projectors for interference patterns. We were able to project images over the entire dome, so that things would come pouring down from the center, sliding along the walls. At times the whole place would seem to reel."

(...) Music ranged from Stockhausen, Berio, and Ussachevsky to Balinese and Afro-Cuban polyrhythms, set against the geometrical imagery characterized by Allures. Jacobs and Belson conducted approximately one-hundred Vortex concerts, including two weeks at the 1958 Brussels World's Fair. In 1960 the planetarium withdrew its support and Vortex ended without ever realizing its full potential.

Text from Gene Youngblood, Expanded Cinema, p.388-390
The whole book can be downloaded here

TOSHIO MATSUMOTO

2011-05-14T22:28:00.007-04:00

These videos seem like a triptych to me... Amazing work.

BLEU NUIT - LE RÉVÉLATEUR

2011-05-10T16:05:00.008-04:00

Bleu Nuit is made using video feedbacks as basic material. Through various processes of image manipulations, colors emerged from electronic light to create improbable landscapes. It is also a collaboration with Le Révélateur, who’s music was the primal inspiration for the completion of this video. Bleu Nuit is a track from Le Révélateur's forthcoming LP on Gneiss Things, Fictions.

BLEU NUIT from Sabrina Ratté on Vimeo.

ED EMSHWILLER - SCAPE-MATES - 1972

2011-05-08T05:42:00.008-04:00

eai.org : In one of his first experiments in video, Emshwiller creates an electronic landscape of both abstract and figurative elements, where colorized dancers are chroma-keyed into a mutable, computer-animated environment. Working with the "Scan-i-mate," an early analog video synthesizer, Emshwiller choreographs an architectural, illusory video space, in which frames proliferate within frames, disembodied heads and hands move within a collage of animated forms, and the dancers and their environment are subjected to constant transformations through image processing. With its witty interplay of the "real" and the "unreal" in an electronically rendered videospace, and the skillful manipulation and articulation of a sculptural illusion of three-dimensionality, Scape-mates introduced a new vocabulary of video image-making.

The whole video can be dowloaded here

28:16 min, color, sound (Excerpt)

ED EMSHWILLER - CAROL - 1970

2011-05-07T11:33:00.005-04:00

Ed Emshwiller's portrait of his wife, avant-garde science fiction writer Carol Emshwiller.

POSITANO

2011-05-04T20:52:00.014-04:00

IN MY VIDEO CAMERA

FRANCIS THOMPSON - A DAY IN NEW YORK - 1957

2011-05-04T13:21:00.004-04:00

Please check out THE SOUND OF EYE for a great description and to download the film.

JAMES LEATHAM

2011-05-02T10:36:00.022-04:00

NICOLAS SASSOON / TREMBLEXY

2011-04-16T19:35:00.004-04:00

A VIRTUAL SPACE-TIME TRAVEL MACHINE

2011-04-08T06:42:00.015-04:00

Images by Jean-François Colonna.
So many images on this site.

LASERIUM

2011-04-06T09:52:00.007-04:00

http://www.laserium.com/

FRANK & LILLIAN GILBRETH

2011-04-02T06:30:00.009-04:00

Efficient Study, 1917

Motion Study

Chronocyclegraph of an experienced handkerchief folder, ten cycles

Cyclegraph

RECTANGLE ET RECTANGLES, 1984

2011-03-29T08:53:00.002-04:00

VIBEKE SORENSEN

2011-03-21T19:14:00.013-04:00

Vibeke Sorensen working on 'S'electrons' (1978)

I've already posted videos under the name of Dean Winkler, who often collaborated with Tom DeWitt and Vibeke Sorensen. I just stumbled upon Vibeke Sorensen's website, and discovered more (really cool) videos from them, and way more about Sorensen's work... She also composed some very nice music for the videos. It's worth to give a look at her website for other videos (this one is quite nice Temple), stereoscopic images, and a more detailed bio...

Vibeke Sorensen is an artist working in experimental new media, including computer graphics and animation. From her early work with hybrid video synthesizers in the 1970s, through her long engagement with three-dimensional computer graphics, to her internet based pieces and architectural installations, she has created a series of prints, films, videotapes, and interactive works while also experimenting with and contributing to the development of new systems and methods.

Phil Mercurio and Vibeke Sorensen in the Advanced Scientific Visualization Laboratory, SDSC

AQUARELLES
Abstract video art created in 1980. Video by Tom DeWitt, Vibeke Sorensen and Dean Winkler.
Music by Vibeke Sorensen.

REJUVINATION
Excerpt from video by Tom DeWitt, Vibeke Sorensen, and Dean Winkler, 1983
Music by Vibeke Sorensen

CALYPSO CAMEO
Video by Vibeke Sorensen and Tom DeWitt, 1983
Music by Vibeke Sorensen

TEXTURES OF LIGHT II

2011-03-20T12:41:00.011-04:00

TEXTURES OF LIGHT

2011-03-12T08:35:00.014-05:00

RUTH LEAVITT

2011-03-08T20:56:00.016-05:00

It's International Women's Day today. I thought it would be a good time to share where the name of this blog comes from while featuring a woman artist.

"I have been using the computer to make pictures for most of my career as an artist. When anyone asks me how I became involved with computers my retort is, "I married into it." My husband, Jay, teaches in the Computer Science Department at the University of Minnesota. Most of what I have learned has been through osmosis.

As a grand student of Hans Hofmann having studied painting with Peter Busa it seems strange, even to me, to be involved with anything mechanical. My art studies were firmly grounded in abstract expressionism—dripping paint, house paintbrushes, and the attitude 'I know nothing.' It is quite a leap to a computer, a plotter, and conscious decision making. However, the change has been gradual and I feel I am combining both attitudes, abstract expressionism and constructivism in my work.

My first encounter with computers in producing art was to experiment and create graphics with a program that already existed. I drew and shaded pictures on a cathode ray tube using a light pen attachment. The program had features which made it superior to drawing by hand. But after 6 months I was frustrated with it. Everything I drew so freely on the scope was ultimately resolved into a grid. This dissatisfaction, coupled with the fact that I now knew more about how computers worked, led me to think of my own idea for a program. I had had a rubber dollar bill when I was a child. I loved to stretch and distort the image on it.

My idea was to use the computer to simulate a rubber sheet and to stretch any patterns I wished to draw. Initially my patterns would be hard-edge, constructivist in style. But after distortion they would have the lyrical quality of abstract expressionism imparted to them. I have explored several patterns with this program, a linear one, one dealing with mass, a 3-dimensional projected figure, etc. Each series is unique, comprises a new style, and even requires its own method of stretching. I have used this 'stretching' program to create graphics and paintings. I am about to begin to use a variation of the program which incorporates transformations to make film animations. In addition, having conceived of one idea, I find myself bombarded with others. Recently, for example, I modified my stretch program to incorporate the idea of attraction and repulsion.

I find that using the computer I do not have to give up my traditional role as artist. The machine acts as a multifaceted tool which I control. When I began to use the computer I had no knowledge of programming. I have since taken a course on Fortran. This gave me an understanding of how the machine processes information, thereby giving me more control over my work. I do not actually code my programs, but I know what I can ask for and how to ask for it.

It is the option to create one's own work tools which, in my mind, makes computer art unique. A new role is now open to the artist in addition to the traditional one of making objects. He can create programs for himself, other artists, and perhaps even for the public. The impact of computers on art in the future will be greater because more artists will have access to machines. I have no doubt that the public shall also have access to computers and certainly more leisure time. If computer art is to become 'the public art' it will not be because graphics can be produced cheaply and en masse as some have predicted. It will be 'the public art' because the public will be generating works of art with programs that artists have created.

As long as I have access to a computer, I will continue to use it. The machine allows me to create artworks that would probably be impossible to produce in any other reasonable way. With the aid of the computer I can now explore areas which artists in the past only thought possible to dream about."

Minneapolis, Minnesota
February 1976

http://www.atariarchives.org/artist/sec28.php

LE TEMPS N'EST PAS FAIT DE TEMPS

2011-03-08T14:06:00.015-05:00

Nourrie par les sens, l'intelligence se détache difficilement de sa conception primaire d'un continu sensible. Comme elle avait rempli d'éther l'espace, elle avait doué le temps d'une manière de consistance; mais extrêmement légère, correspondant à la vague fluidité des perceptions ordinaires de la durée, données par la cénesthésie. Cette trame si exquise, ce fil ténu des Parques, cette pellicule de chagrin, cette substance indécise, plus subtile encore que l'éther, et qui se refusait même à recevoir la précision d'un nom propre, restait cependant une réalité matérielle.

Le cinématographe a détruit cette illusion; il montre que le temps n'est qu'une perspective, née de la succession des phénomènes comme l'espace n'est qu'une perspective de la coexistence des choses. Le temps ne contient rien qu'on puisse appeler temps en soi, pas plus que l'espace ne renferme d'espace en soi. Ils ne se composent, l'un et l'autre, que de rapports, essentiellement variables, entre des apparences qui se produisent successivement ou simultanément. C'est pourquoi il peut y avoir trente-six temps différents et vingt sortes d'espaces, comme il peut y avoir d'innombrables perspectives particulières, selon les positions infiniment diverses des objets et de leur observateur.

Ainsi, après nous avoir indiqué l'irréalité du continu comme du discontinu, le cinématographe nous introduit, et assez brutalement, dans l'irréalité de l'espace-temps.
-Jean Epstein, L'intelligence d'une machine, repris dans Écrits sur le cinéma, vol.1 1974

Pure beauty: http://www.ubu.com/film/epstein_temp.html

PETER DONEBAUER

2011-03-01T17:22:00.005-05:00

1974, Colour, 8 minutes,
Music composed and performed by Simon Desorgher

Entering is a classic videotape, representing something of a milestone in British broadcasting and art history. It was the first independent “art” videotape and the first completely abstract work to be commissioned and broadcast nationally on television in the UK - in May 1974 in an Arts magazine programme hosted by Melvyn Bragg. And was selected as part of Tate Britain’s “Century of Artists Film in Britain” exhibition in 2003.

It was recorded by the BBC as an outside broadcast from the Royal College of Art television studio in Kensington, London on 15th April 1974. Pictures and sound were transmitted via a microwave link to the Television Centre at White City via the Crystal Palace transmitter on the other side of London (as no direct line of site was available between the two sites just two miles apart!)

The imagery and sound were performed and recorded by Donebauer and Desorgher “playing” together in real time with both participants having visual and aural feedback of each other’s transforming contributions as they affected the piece in real time and thus in turn their own continuing contributions. The tape represents the best early example of the visual techniques Donebauer had developed through access to the old ATV colour studio donated to the College by Lew Grade. These techniques involved manipulating the studio in ways for which it was never designed, enabling the development of a form of “Electronic Painting” equivalent to the “Electronic Music” that was being first developed around that time. The two went on to work together for several years with Desorgher providing and co-ordinating the sound elements through a mixture of traditional musical instruments and electronics.

The imagery is non-representational, and the tape’s theme is an allegory of the experience of birth in the physical sense and re-birth in the metaphysical sense. The tape’s structure is in three sections separated by moments of darkness. The first section suggests the security of a womb. The second section develops through a series of contractions leading to the expansion of birth itself. The final section suggests the quiescence of rest and sleep.

http://www.donebauer.net/

TRANSIT

2011-02-23T11:53:00.009-05:00

An illuminated map of some neighbourhood in Paris became a landscape...
Music by Roger Tellier-Craig

CELESTIAL MUSIC & VISUALS

2011-02-18T18:54:00.005-05:00

Following the idea of impossible landscapes and oniric images, I can hardly pass by these unbelievable videos (I still can't believe them) from Iasos...whom I will have the chance to see perform at the Kraak festival in Brussels very soon...

How to make Paris look electronic?

2011-02-14T11:55:00.007-05:00

Paris dans les yeux de Jean-Michel Jarre...

Pipilotti Rist

2011-02-11T20:27:00.019-05:00

"I see. You see. I see you seeing. You see me seeing. I want to show what I see. You want to show what you see. Nirvana in the rose garden."

http://www.ubu.com/film/rist_ents.html

BERENICE ABBOTT

2011-02-08T18:14:00.011-05:00

Beams of Light Through Glass, 1960

Behavior of waves, 1960

Multiple Exposure of a Swinging Ball, 1958

EN VIDEO, JE PARS POUR PARIS...

2011-02-03T11:54:00.002-05:00

GOD HEAVEN DREAM DOOR PASSAGE

2011-02-01T18:00:00.020-05:00

http://www.123rf.com/

BEN F. LAPOSKY- ELECTRONIC ABSTRACTIONS

2011-01-28T09:39:00.027-05:00

Here is an excerpt of an interesting text from Ben F. Laposky about his approach using the oscilloscope. The rest can be found on the Vasulka archives.

http://www.vasulka.org/archive/Artists3/Laposky,BenF/ElectronicAbstractions.pdf

MARY ELLEN BUTE

2011-01-27T15:54:00.005-05:00

Simply amazing.

KARL GERSTNER «Auto-Vision»

2011-01-26T00:12:00.009-05:00

Between 1962 and 1963, Gerstner made his first attempts at optically distorting television images with lenses made of Plexiglas. In 1964, he exhibited his results for the first time in an installation that used 12 television sets, each one shown wearing a different pair of so-called «glasses». ( Exhibition: «Crazy Berlin» at Haus am Lützowplatz, Berlin)

http://www.medienkunstnetz.de/works/auto-vision/images/3/

MUSIC VIDEO

2011-01-22T16:17:00.013-05:00

I just finished this video for Boxcutter... Having a lot of fun with video feedback.

Track 'TV Troubles' taken from his album The Dissolve released on Planet Mu 25 April 2011.

WARNER JEPSON

2011-01-21T20:41:00.012-05:00

Warner Jepson 'in-video-cognito'

"Most of his imagery [was] generated by audio equipment that [was] connected to the video gear. He talks about his latest work:

"...I've been doing some things sending an audio signal into a machine we have at the Center called a mixer, a colorizer, and a keyer. It takes audio signals from the oscillator inside the audio synthesizer and changes them into bands of various widths and expansion on the screen and puts color in , so the color gets mixed in gorgeous arrays. I've even begun to use the camera and to mix audio created images with camera images. The audio things will go right through the camera images and make strange new colors."

His idea is to make a work that is totally integrated aurally and visually. He feels the two should complement each other completely. The problem is to balance the work so that both visuals and audio are interesting. He explains: "in a lot of these experiments, I'm not even putting the sound on because the sound is dumb. The thing about sound is, it's so complex that when it's represented in images, the images are so complex, they become chaos. Whereas the simplest sounds make the clearest images...There's a lot of activity in sounds and it becomes blurry visually; it looks like noise. So the simplest sounds, like single tones, make the best images...working with sounds you actually want to use and save is a problem."

http://www.rdlx.com/ncet/jepson/jepson.html

Лунная радуга

2011-01-17T20:31:00.009-05:00

Lunnaya Raduga, directed by Andrei Yermash and V. Karpichhyov, 1984
Music by Eduard Artemyev... Where can we find this film?

THE COMPUTER CHRONICLES

2011-01-16T23:53:00.007-05:00

A review of computer art, graphics capabilities of computers and professional computer graphics systems. Episode year: 1984

http://www.archive.org/details/computerchronicles

COMPUTING PHOTOGRAPHS

2011-01-13T00:19:00.023-05:00

This Gallery is still under development. It currently contains over 3000 photographs that relate to Computing and computer staff on the Chilton site that housed both the Atlas Computer Laboratory and the Rutherford Appleton Laboratory.

http://www.chilton-computing.org.uk/gallery/home.htm

-1958

Ken Knowlton Mosaic received on visit to Bell Labs 00.08.68

Roger Hockney Galaxy Evolution (Tomorrows World) 00.07.71

rPERQ Screen Many Lines 05.03.81

Magnet Design Bill Trowbridge 03.11.80

Rutherford VDU Operator Ruth Jeans 10.06.76

Network DECNET 09.06.81

Office Automation Conference, Philadelphia 00.02.83

Susan Hockey- Chinese Poem in Rows 00.00.71

Transputer 07.04.87

Strathclyde Transputer Centre 02.06.88

FOUND VIDEO #1

2011-01-09T15:19:00.007-05:00

Found Video #1 is the first video of a serie that I intend to do as an exercise in reappropriating videos. This first exercise is based on the impossibility to understand the conversation that is taking place about video art and Nam June Paik. I decided to play with this element of foreign language and to use it as music. The framing and the video feedback transform this conventional interview into an abstract dance of images. As the interview goes, the images start to fade away, leaving place to light and abstract forms.

NEON SUNLIGHT

2011-01-06T01:12:00.015-05:00

Stills from a work in progress.

REACHING FOR AQUARIUS

2011-01-03T15:41:00.008-05:00

Syd Mead is a visual futurist and concept artist. He is best known for his designs for science-fiction films such as Blade Runner, Aliens, and Tron. Of his work, Mead was once moved to comment: "I've called science fiction 'reality ahead of schedule." -Wikipedia

Illustrations and commentary by Syd Mead.
Source: Automobile Quarterly, vol 18 no.1, 1975

TRACK ONE

In the early evening guests arrive in gyro gondolas with their cyborg pets and android attendants. The residents have programmed the illusion pool, filled the foyer with halographic crystal lattices, and provided elegant pneumatic enclosures for the occasion.

TRACK TWO
Standard public lease system vehicles enter a mobile lobby at left, containing shops, lounges and information centers, loading for the half mile transit to megastructure in background. Corporate and privately leased vehicles in middle foreground, fitted to specific use, await departure. Two personal enclosures float over the parking lane in foreground, while late afternoon strollers walk past an illusion cluster at far right: large sculpture overlooking illusion plaza is monument to first extra-terrestrial visitors.

TRACK THREE
An elegant robot serves party guests in vaporspheres out on the terrace, while conversational groups inside enjoy the atmosphere of halogram wall display, the sumptuous buffet, and pneumatic banquette seating. A couple are juste leaving, far left, after programming a travel enclosure from the special matrix wall.

SARA LUDY

2011-01-02T10:05:00.019-05:00

I rarely post contemporary works on this blog, since I'm usually more inspired by older works. But here is a contemporary artist who's work slowly grew on me, to the point that I consider her as one of my favorite. Her work often takes place in familiar spaces where a surreal atmosphere emerges; there's a striking tension between the banal and the fantastic.
Sara Ludy's work can be found here, here and here.

1.

2011-01-01T22:25:00.004-05:00

FROM HERE I CAME TO PLANET EARTH

2010-12-27T18:07:00.020-05:00

LAURENCE M. GARTEL

The birth of Gartel's career as an artist can be pinpointed to 1976 at the Media Study in Buffalo, a center for experimental video. That year represents a watershed in his development as he worked alongside Nam June Paik, the father of video art. At that time, Gartel set his goal to make stills from video - the opposite of what was being done at the center - and the step to the computer screen was swift.
His processes vary but he usually starts with the camera image. Basically he uses a special printer with a built-in scanner, inserts photos into the computer system, merges them, photographs the new multilayered video images, and then enlarges them, sometimes to forty by fifty inches. And that is only the beginning. (...) Every new device means more fun for Laurence.

Laurence M. Gartel: A Cybernetic Romance, 1989

DEAN WINKLER

2010-12-19T23:24:00.012-05:00

This episode from the first season of the Video Artist (1983?) featured Tom DeWitt, Vibeke Sorensen and myself (Dean Winkler) discussing two of our pieces, Tempest and Voyage.

Abstract video art created in 1981. Video by Dean Winkler, Tom DeWitt, Vibeke Sorensen and Robert Lund. Music by Tom DeWitt and Vibeke Sorensen.

Abstract video art created in 1986 for Expo '86 in Vancouver, BC. Video by John Sanborn and Dean Winkler. Music by Daniel Lentz.

THE LAST OF THE EPIC VIDEOS

2010-12-17T17:41:00.035-05:00

I made it! I succeeded in making one video a week for a whole year!

52-Pick-Up is a project conceived and coordinated by Dayna McLeod: "52 Pick-Up is a series of videos made by anyone who is up for the challenge of making one video a week for 52 weeks straight. It is a video production challenge. Equivalent to drawing a sketch-a day or writing a page-a-day, it's an exercise in endurance to get the juices flowing with a quick deadline that can be used as an excuse for both brilliance and failure."

When I started this project, I thought that I could miss one or two weeks occasionnally... But I caught myself being really engaged in the process, not wanting to miss one week even if it meant posting some ugly weird stuff.
After a year, I can say that it radically transformed my philosophy about producing work, and about what I value in terms of video making. Now, I feel more strongly about the process than about anything else. The gems that come out of this process are rare and not to be expected. Making videos is all about work. The magic occurs once in a while, in between two ugly videos...

Most of the videos on that 52 Pick-Up page are sketches and experimentations that I've integrated later in more accomplished works. I tried to create new and different approaches with each video, finding my own "home-made" way of creating visual effects. Here are some videos that never ended up on my Vimeo or anywhere else, but that I am still very fond of.

WEEK 4
La mer électronique---music by Laurie Spiegel

WEEK 51

LARRY CUBA

2010-12-16T17:16:00.008-05:00

Larry Cuba is widely recognized as a pioneer in the use of computers in animation art. Producing his first computer animation in 1974, Cuba was at the forefront of the computer-animation artists considered the "second generation" --- those who directly followed the visionaries of the sixties: John Whitney, Sr., Stan Vanderbeek and Lillian Schwartz.

Larry Cuba interviewed by Gene Youngblood, in 1986 (excerpt)
"Someone once asked what I mean by the term "experimental film." What makes them experimental? I said because they’re not previsualized. They're the result of experiments and dialog with the medium. And he said, 'Well, all art is like that, that's what art is." I said all art is like that but all film is not. We're much more used to films being preconceived, both in content and execution. Even many people with whom I share the same intent will listen to a piece of music, come up with images, storyboard them and animate them . So that by the time they get to the production stage the result is almost a foregone conclusion.

That's much less of a dialog than my approach and in that sense it's not as experimental. Also there's the danger that the music is carrying the piece: take away the sound and there's not much left. In my work, the visuals come first. I'm trying to discover what works visually, so I never start with music. That would be starting with a composition that already exists, and composition is the problem. I don't have an image of the final film or even any of the scenes before I start programming. I only have basic structural ideas that come from algebra, or from the nature of the [computer] drawing process, or from the hierarchical structure of the items in the scene and how they will dance---the choreographic movements from a mathematical point of view."

Excerpt of Calculated Movements (1985), 16mm, B/W

In the 1970s the computer graphics for the first Star Wars film (1977) was created by Larry Cuba at the Electronic Visualization Laboratory (EVL) (at the time known as the Circle Graphics Habitat) at the University of Illinois at Chicago.

For the rest of the interview:
http://prehysteries.blogspot.com/2008/07/larry-cuba-interviewed-by-gene.html

CORPORATE SPACES AND LIGHT

2010-12-12T00:51:00.044-05:00

Montreal in my cell phone.

TOSHIO MATSUMOTO

2010-12-09T00:20:00.006-05:00

For more works by Matsumoto: The Sound of Eye

LAURIE SPIEGEL

2010-12-07T22:38:00.005-05:00

SHIMMER, 1985

2010-12-04T17:25:00.012-05:00

A live performance documentation by Ed Tannenbaum.
The soundtrack is by Maggi Payne.

VIRTUAL GALLERY

2010-11-27T18:51:00.017-05:00

By Lillian Schwartz. From her book The Computer Artist's Handbook, 1992

(Accepted version of the MOMA poster, 1984)

(Dance of Matisse and Modigliani's Nude Observed by Me, 1985)

(MOMA Gallery 1, 1983)

(MOMA project images, 1982-83)

A CYBERNETIC ROMANCE

2010-11-22T21:01:00.016-05:00

"I discovered the power of single graphic images while working with my longer video pieces. Stopping the action reveals frames far more beautiful still than in motion." - Nam June Paik, A Cybernetic Romance, 1989

Pour une raison que je ne peux encore expliquer, je documente presque frénétiquement toutes mes expérimentations vidéos, même celles qui ne prendront jamais une forme définie. Il me semble que les mouvements aléatoires des images créent des possibilités de compositions impossibles à prévoir, et qui sont souvent plus intéressantes à regarder lorsqu'elles sont figées. J'ai donc commencé un blog, une sorte de banque d'images tirées de mes vidéos, qui marque ces étapes vers la réalisation d'un résultat final ou non. On peut y jeter un coup d'oeil ici.

J'ai été confirmée dans mes impulsions lorsque je suis tombée sur cette citation de Nam June Paik tirée du livre A Cybernetic Romance, 1989, sur le blog PAINTED, ETC. (J'ai aussi commandé le livre, qui en plus d'un texte d'introduction de Nam June Paik, semble contenir des images surprenantes de Laurence M. Gartel.)

NOTE

2010-11-20T01:16:00.007-05:00

MONDES PARALLÈLES

2010-11-16T11:35:00.032-05:00

Buildings are expensive, but paper is cheap. The most interesting project may not be the one that was built. RNDRD wants to give these unseen works and forgotten trends a presence on the internet.

http://rndrd.com/140705/About-RNDRD

DIGITAL ART MUSEUM

2010-11-12T18:17:00.035-05:00

Je me suis limitée à ne choisir qu'une seule image pour les artistes que je trouvais les plus intéressants, mais ça vaut la peine d'aller jeter un coup d'oeil sur ce site http://digitalartmuseum.org/artists/index.htm pour plus d'images et plus d'informations.

"[DAM] is an on-line museum with a comprehensive exhibition of Digital Art supported by a wide range of background information including biographies, articles, a bibliography and interviews."

Joan TRUCKENBROD

Edward ZAJEC

Laurence GARTEL

Herbert W FRANKE - Collaborations with Horst Helbig

Sue Gollifer

Erkki Kurenniemi, DIMI Ballet

2010-11-09T00:52:00.011-05:00

Je viens de voir que cette vidéo, extra sur le dvd d'un documentaire sur Erkki Kurenniemi (et qui pour moi est littéralement une obsession) existe sur youtube. On peut aussi télécharger une version de meilleure qualité sur THE SOUND OF EYE ainsi qu'un peu d'informations supplémentaires.

RETOUR DES ÉTOILES

2010-11-06T02:01:00.005-04:00

RETOUR DES ÉTOILES from Sabrina Ratté on Vimeo.

STEINA AND WOODY VASULKA

2010-11-03T18:15:00.029-04:00

"In their early collaborative work, the Vasulkas examined the electronic nature of video and sound, developing specialized imaging tools and strategies while also using the medium to document the city's expanding underground culture. "We were interested in certain decadent aspects of America, the phenomena of the time—underground rock and roll, homosexual theater, and the rest of the illegitimate culture. In the same way, we were curious about more puritanical concepts of art inspired by [Marshall] McLuhan and Buckminster Fuller. It seemed a strange and unified front—against the establishment."

http://www.vasulka.org/
http://www.vdb.org/smackn.acgi$artistdetail?VASULKAS