Showing posts with label 1985. Show all posts
Showing posts with label 1985. Show all posts
23.2.13
SONIA LANDY SHERIDAN
Through her art, Sonia Landy Sheridan has investigated the inner landscape of her own intensely creative, and often playful, intelligence. Sheridan is known for her work with the new forms of technology that sparked the late-twentieth-century communications revolution as well as her experience as both an inspiring teacher and artist-in-residence at the 3M Company. Source of this text http://hoodmuseum.dartmouth.edu/exhibitions/2009soniasheridan/
More links:
http://soniasheridan.com/index.htm
1982 EASEL software; Cromemco Z-2D hardware; black & white video Showing the multi-dimensions
of the new graphic system. One of a Series.
1982 EASEL software; Cromemco Z-2D hardware; black & white video Showing the multi-dimensions
of the new graphic system. One of a Series.
.Stretching the Grid 1982 EASEL software; Cromemco Z-2D hardware. Capturing the program menu and morphing it.
1982 EASEL software; Cromemco Z-2D hardware; black & white video Cycled color. One of a Series of 100.
1985 Cromemco Z-2D computer with a Cat 4 graphics card, a black and white surveillance camera, and EASEL software by John Dunn. This system was the first available graphics software for the PC.
10.7.11
COMPUTER GRAPHICS - COMPUTER ART
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.
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
2.5.11
27.12.10
FROM HERE I CAME TO PLANET EARTH
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
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
16.12.10
LARRY CUBA
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/WLarry 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."
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
4.12.10
27.11.10
VIRTUAL GALLERY
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)
(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)
27.4.10
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