This dynamic resource complements Edward Shanken's book Continuel - Lumiere - Cylinder
Submitted by Anonymous on Wed, 2011-07-27 15:19According to artist Julio LeParc, a member of GRAV in Paris, our "first experiments with light were conducted in 1959: We place the light in small boxes which reproduced, multiplied and combined with the screens made of Plexiglas slates, prisms, squares and circle shapes, using a scale of 14 colours. Like in other experiments it is not about creating luminous paintings. The light is but a way to manifest some of my concerns, such apprehending the variation of the potential induced and to manifest it in one visual field. Many experiments were made from the handling of material and the differentiation of the issues.
Random Screen
Submitted by artexetra on Sat, 2011-10-29 15:48Random Screen is a mechanical thermodynamic screen that the user can’t control and that functions without any electricity. Conventional tea candles illuminate and generate the changes on the 5x5 pixel screen. (early version 4x4) This work is one of a series of low-tech screen projects that was originally inspired by the Blinkenlights media façade of the Chaos Computer Club in Berlin. The video documents Version 3, 2009.
Microcosm
Submitted by artexetra on Mon, 2011-10-17 14:38Miao Xiachun’s recent work transforms paintings from the canon of Western art history into photographic and animated computer models. Microcosm is based on Hieronymus Bosch's 15th century masterpiece The Garden of Earthly Delights.
Glimpses of the USA
Submitted by admin on Thu, 2011-08-04 12:36
Charles and Ray Eames' "famous film installation for the American National Exhibition in Moscow in 1959" was, according to curator David Crowley, "part of a major propaganda exercise designed to inject the elixir of consumerism into the heart of the Soviet empire. This seven-screen presentation, entitled Glimpses of the USA, commissioned by the US Department of State, was projected inside a massive golden geodesic dome through which all visitors had to pass."
Die Photokopie der Photokopie der Photokopie
Submitted by admin on Wed, 2011-08-03 09:07
Timm Ulrichs’ Die Photokopie der Photokopie der Photokopie (1967) pushed the limits of these new machines while questioning conventional notions of the original versus the copy. Ulrichs photocopied an encyclopedia entry about photocopying, then copied the copy through ninety-nine successive generations, revealing the intrinsic qualities of the process. Was the original image degraded? Or was the whole process an original work of art, a parallel conversation or metadiscourse on electronic reproduction
Cubic Limit series, P-154c
Submitted by admin on Wed, 2011-07-27 16:58
In Cubic Limit, Manfred Mohr introduced the cube into his work as a "fixed system with which signs are generated. In the first part of this work phase (1972-76), an alphabet of signs is created from the twelve lines of a cube. In some works, statistics and rotation are used in the algorithm to generate signs. In others, combinatorial, logical and additive operators generate the global and local structures of the images."
"The above programs developed from an earlier program "Sphereless", P128 (1972) where I generated signs from a less complex fixed structure, the square, using it's 4 sides and it's 2 diagonals as the alphabet."[1]
Image on right is 60 x 60 cm, ink on paper.