Dot and Line + Stereopsis Week 7 https://www.youtube.com/watch?v=n8TJx8n9UsA Cybernetic Serendipity Computer art Digital art Virtual artworks New vocabulary: erase # delete ‘erasure is to line what stains is to drawing” = ‘deleting’ is to algorithm (or code). Rather than points and dots, pixels, the smallest physical elements of a digital display device, were created as squares. Discussion: are pixels square or round? Russel Kirsch – the first digital image 1957 “Computer graphics are pictures and films created using computers. Usually, the term refers to computer-generated CG andCGI image data created with help from specialized graphical hardware and software.” “The term was coined in 1960, The term computer graphics by computer graphics refers to several different things, researchers Verne Hudson and for example: William Fetter of Boeing. It is 1.the representation and manipulation of image data by a often abbreviated as CG, computer though sometimes referred to 2.the various technologies used as computer-generated to create and manipulate images imagery (CGI).” 3.the sub-field of computer science which studies methods for digitally synthesizing and * sometimes CG means Character manipulating visual content, see Generator” study of computer graphics (1977) The computer graphics for the first Star Wars film was created by Larry Cuba in the 1970s at the Electronic Visualization Laboratory (EVL) (at the time known as the Circle Graphics Habitat) at the University of Illinois at Chicago. For more information on the lab, visit our website -- www.evl.uic.edu and Larry Cuba at www.well.com/user/cuba “Once he had landed the bid to make the short animated sequence, he turned to DeFanti (Tom De Fanti, CALIT2), whose lab had worked already on one film (a forgettable 1974 thriller, "UFO: Target Earth") and was becoming known for its Graphics Symbiosis System, a programming language DeFanti had developed at Ohio State and gave the very-'70s acronym GRASS. "Larry (Cuba) had programming skill," DeFanti said, "but not sufficient to do 'Star Wars' from scratch, and GRASS" — a then-novel combination of real-time graphics manipulation, using a keyboard and nobs — "made the power of coding accessible." Tom De Fanti CALIT2 Star Wars - 1977 In 1999, George Lucas released the long awaited Star Wars Episode 1: The Phantom Menace, containing almost 2,000 digital effects created by Industrial Light & Magic under the supervision of Dennis Muren, John Knoll, Scott Squires and Rob Coleman. Art and Algorithm for drawing FROriginally), of programming the Paris engineer in human computer relations and artificial intelligence, he places the program,Municipal a contemporary artistic material and unique by its active quality,Contemporary at the core of most of Art his artworks, to reveal and literally manipulateFund (FMAC)… the forces at stake. Antoine Schmitt explores the field of programmed art. His work has received several awards in international festivals : transmediale (Berlin, second prize 2007, honorary 2001), Ars Electronica (2009), UNESCO International Festival of Video-Dance (Paris, first prize online 2002), Vida 5.0 (Madrid, honorary 2002), CYNETart (Dresden, honorary 2004), medi@terra (Athens, first prize 1999), Interférences (Belfort, first prize 2000), and has been exhibited among others at the Centre Georges Pompidou (Paris), at Musée des Arts Décoratifs (Paris), at Sonar (Barcelona), at Ars Electronica (Linz), at the CAC of Sienna (Italy), at the Musée d’Art Contemporain de Lyon (France), in Nuits Blanches (Paris, Amiens, Metz, Bruxelles and Madrid). It is part of the collections of the Foundations Artphilein (CH), Fraenkel (USA), Meeschaert (FR), of the Espace Gantner (Bourogne, FR), of the Cube (Issy-Mx, Antoine Schmitt Avec Détermination (2000) Antoine Schmitt In 2005, in a debate with new media artist Fred Forest, Schmitt asserted that programming is a radically different material than earlier mediums such as painting, sculpture, or film and that it is remarkable exactly because of its specificity. He opposed Fred Forest’s view that the fetishism of technology was detrimental to its artistic purpose, and affirmed that programming does not permit the construction of symbolic objects. The debate between Schmitt and Forest activated the dilemma ‘to code or not to code’ the positioning of coding as representing either status and power or mystification or naivety, depending on the point of view. It is very common to see artists attacking each other for either not knowing how to program or for being “only programmers” who do not understand art. Antoine Schmitt – 7 Bilion Pixels “Here begins the algorismus. This new art is called the algorismus, in Which out of these twice fine figures 0 9 8 7 6 5 4 3 2 1 of the Indians we derive such benefit ..” FLASHFlash GENERATION Generation Flash software, developed by Macromedia, came out in 1996 and dominated the aesthetics of a generation of artists and web designers. “Artists are no longer interested in media critique which preoccupied artists over the last two decades, instead it is engaged in software critique. [….] No longer Wallpaper and October, but Flash and Director manuals are required to be read for any serious young artist. “(Manovich, Flash Generation) Flash was acquired by Adobe and in 2015 parts of the software were rebranded as Adobe Animate. Processing Some artists positioned themselves contrary to the Flash generation, and part of them aligned to a group of developer artists at MIT from the era of John Maeda and his students Ben Fry and Casey Reas, the developers of Processing , a library with codes to create art works. Drawing, Algorithms and Interactivity • Zach Lieberman explores the relationship between open data and art to create interactive experiences, tools for artists, and entrancing visuals. • He is an artist with a simple goal: he wants you surprised. • His work uses technology in a playful way to break down the fragile boundary between the visible and the invisible. He has held residencies at Ars Electronica Futurelab, Eyebeam, Dance Theater Workshop, and the Hangar Center for the Arts in Barcelona, and his work has been exhibited around the world. • He is also co-founder of the School for Poetic Computation in New York. Zachary Lieberman – Drawing Table 2006 Humorous Phases of Funny Faces is a 1906 short silent animated cartoon directed by James Stuart Blackton and generally regarded by film historians as the first animated film recorded on standard picture film. Scott Snibbe - Motion Sketch (1989-1994) https://www.youtube.com/watch?v=IK QRV4XKZt4https://www.youtube.com/ watch?v=IKQRV4XKZt4 Un homme de têtes (or The Four Troublesome Heads) by Georges Melies, 1898 Processing = Java OpenFrameWorks = C++ Lieberman positions himself against the Flash generation, by not submitting to the vectorial destination of the software. Inspired by Processing and ACU Toolkit, a library developed by Casey Reas and Ben Fry and others in the MIT Media Lab, Zach Lieberman, Theo Watson, and Arturo Cast developed OpenFrameWorks , a library for audio-visual works based on C++ programing language, while Processing is based on Java. • https://www.whatgetsyo ulost.com/blog/2017/6/ 7/zach-lieberman algorithm sketches Pierre Huyghe: "Anlee" | "Exclusive" | Art21 Episode #021: Pierre Huyghe's videos One Million Kingdoms (2001) and Two Minutes Out of Time (2000), part of the collaborative project No Ghost Just a Shell (1999-2003) with Philippe Parreno Drawing in the digital universe presents itself as a singular opportunity to highlight the layers of the process of migration and transformation as ‘a dynamic chain that passes through different formats’ , according to French artist Pierre Huyghe in his concern with the notion of ‘format’ Golin Levin (with Zachary Lieberman, and Joan La Bar) – 2003) “Messa di Voce augments the speech, shouts and songs produced by two virtuoso vocalists with real-time interactive visualizations. The project touches on themes of abstract communication, synesthetic relationships, cartoon language, and writing and scoring systems, within the context of a sophisticated, playful, and virtuosic audiovisual narrative.” Drawing with light in computer ages / Graffiti Research Lab go Lasertagging in Barcelona during OFFF 2007 – Drawing + Graffiti Drawing with lights Picasso Drawings - 1949 Drawing Machine in computer / digital ages INSCREVER-SE 3,6 MIL Sound by Steph Horak. Patrick Tressé La Vanité (2011) A History of Computer Graphics and Animation, by Wayne Carlson Four basic types of Da Vinci stereopsis cues “Roughly, you can think of stereopsis as depth perception. Stereopsis When a visually normal human being looks at an object, each eye sees it from a slightly different angle, and sends those ster·e·op·sis pictures back to the brain. The differences between the two sterēˈäpsəs/ images are integrated into a single one, and the differences noun are used to show what is nearer, the perception of depth produced by etc., creating the 3D effect.” the reception in the brain of visual stimuli from both eyes in ophthalmology combination; binocular vision. The word “stereoscopy” derives from Greek στερεός (stereos), meaning 'firm, solid’ + σκοπέω (skopeō), meaning 'to look, to see'. Any stereoscopic image is called a stereogram. Originally, stereogram referred to a pair of stereo images which could be viewed using a stereoscope. Charlles Wheatstone mirror stereoscope Brewster Stereocope - 1854 “No home without a stereoscope” - 1850 “In 1852 the company had sold more than 500,000