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

CG and CGI

“Computer graphics are pictures and films created using computers. Usually, the term refers to computer-generated image data created with help from specialized graphical hardware and software.”

“The term was coined in 1960, by computer graphics researchers Verne Hudson and William Fetter of Boeing. It is often abbreviated as CG, though sometimes referred to as computer-generated imagery (CGI).”

* sometimes CG means Character Generator”

The term computer graphicsrefers to several different things, for example:

1.the representation and manipulation of image data by a computer

2.the various technologies used to create and manipulate images

3.the sub-field of computer science which studies methods for digitally synthesizing and manipulating visual content, see 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.

FR), of the Paris Municipal Contemporary Art Fund (FMAC)…

Art and Algorithm for drawing

Originally programming engineer in human computer relations and artificial intelligence, he places the program, a contemporary artistic material and unique by its active quality, at the core of most of his artworks, to reveal and literally manipulate 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, inWhich out of these twice fine figures

0 9 8 7 6 5 4 3 2 1of the Indians we derive such benefit ..”

Flash GenerationFLASH 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 andInteractivity

• 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)

Un homme de têtes (or The Four Troublesome Heads) by Georges Melies, 1898

https://www.youtube.com/watch?v=IKQRV4XKZt4https://www.youtube.com/watch?v=IKQRV4XKZt4

Processing = JavaOpenFrameWorks = C++

Lieberman positions himself against the Flash generation, by not submitting to the vectorialdestination 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.whatgetsyoulost.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

Patrick Tressé

La Vanité (2011)

INSCREVER-SE 3,6 MIL

Sound by Steph Horak.

A History of Computer Graphics and Animation, by Wayne Carlson

Stereopsis

ster·e·op·sis

sterēˈäpsəs/

noun

the perception of depth produced by the reception in the brain of visual stimuli from both eyes in combination; binocular vision.

“Roughly, you can think of stereopsis as depth perception. When a visually normal human being looks at an object, each eye sees it from a slightly different angle, and sends those pictures back to the brain. The differences between the two images are integrated into a single one, and the differences are used to show what is nearer, etc., creating the 3D effect.”

ophthalmology

Four basic types of Da Vinci stereopsis cues

The word “stereoscopy” derives from Greekστερεός (stereos), meaning 'firm, solid’ + σκοπέω (skopeō), meaning 'to look, to see'. Any stereoscopic image is called a stereogram. Originally, stereogram referred to a pair ofstereo 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 stereoscopes and had 10,000 titles in its catalogue of stereo cards. By 1858 they claimed to have an incredible 100,000 views available.”

Side by sidestereograms

Western Wall Jerusalen

A stereoscopic pair of images combined after coloring one red and the other cyan. It can be viewed in 3D by using simple anaglyph 3D glasses.

Rijksmuseum, Amsterdam

“ Stretch your hand and touch her silky dress. [...] And what about that lace whose transparent folds provide a glimpse of her rounded arm, does it not seem as if you are about to crush it beneath your fingers? And can you not see the daylight passing between the pearls of her necklace and the delicate skin of her neck? And what about the shadow of her lashes over her clear blue eyes, and the faint smile hovering about her lips? And can you not see the blood moving beneath her downy cheeks, the force which brings her soft, translucent skin to life?”

Stereoscopy and Pornography

Ernst Lacan – journalist - 1853

MARCEL DUCHAMP (1887-1968) & MAN RAY (1890-1976)

Stereoscopic Photographs of the Rotary Glass Plates, 1920

First tests

1890s : William Friese-Greene : 3D film process patent

1900 : Frederic Eugene Ives stereo camera rig.

1915: Edwin S. Porter and William E. Waddel presetentedtest at the Astor Theather NYC

1903 L'arrivee du train 3DLumiere brothers

Power of love – 1922

Audioskospics – 1936

1952 - Bwana Devil