R: RHIZOME_RAW: Turbulence Spotlight: "Tabula Visum: Tabular Vision & HTML Cinema" by Patrick Lichty

Posted by Salvatore Iaconesi | Fri Nov 17th 2006 4:36 p.m.

i know i don't have all the "titles" and that it might sound a foolish
question:

but haven't loads of folks been doing this stuff?

even i've been doing this stuff, and i'm the laaaaaast little meaningless one
of a crowd...

yes, yes, i know, you/we all grab stuff and attach meanings to it. we all do.
and blablabla...

but isn't there something more interesting to "Spotlight"? :)

this is meant to be a constructive criticism.

>----Messaggio originale----
>Dal: turbulence@turbulence.org
>Data: 17/11/2006 23.59
>A: "Jo-Anne Green"<jo@turbulence.org>
>Ogg: RHIZOME_RAW: Turbulence Spotlight: &quot;Tabula Visum: Tabular Vision
&amp; HTML Cinema&quot; by Patrick Lichty
>
>November 17, 2006
>Turbulence Spotlight: "Tabula Visum: Tabular Vision & HTML Cinema" by
>Patrick Lichty
>http://turbulence.org/spotlight/lichty
>
>Both static and dynamic digital images have often been represented as
>'translated' images, reinterpreted from an intermediate image file stored on
>the web. Beginning with these files, Lichty has translated the images and
>videos to pure HTML code. As such, they represent a very 'direct' method of
>representation in the browser. In addition, there is a time-based element
>that occurs when the tables load into the browser. Thus, "HTML Cinema" has
>two dimensions; the time of the load, and the time of the serial.
>
>Many of these images are excerpts from Lichty's wristcam photography and
>video works. After conversion to pure code, several of the pages were
>unmanageable; therefore, they are a hybrid of code and console handicraft by
>the artist.
>
>BIOGRAPHY
>
>Patrick Lichty is a technologically-based conceptual artist, writer,
>independent curator, animator for the activist group "The Yes Men," and
>Executive Editor of Intelligent Agent Magazine. His work spans over 15
>years, dealing with media narrative/criticism and information aesthetics, in
>many different contexts. He works in diverse technological media, including
>painting, mobile media, printmaking, kinetics, video, VR, generative music,
>and neon. Venues in which Lichty has been involved with solo and
>collaborative works include the Whitney Biennial and the International
>Symposium on the Electronic Arts (ISEA). Lichty is a faculty member in the
>Interactive Arts and Media Department at Columbia College Chicago.
>
>For more Turbulence Spotlights please visit http://turbulence.org/spotlight/
>
>Jo-Anne Green, Co-Director
>New Radio and Performing Arts, Inc.: http://new-radio.org
>New York: 917.548.7780 . Boston: 617.522.3856
>Turbulence: http://turbulence.org
>New American Radio: http://somewhere.org
>Networked_Performance Blog: http://turbulence.org/blog
>Upgrade! Boston: http://turbulence.org/upgrade
>
>
>
>
>+
>-> post: list@rhizome.org
>-> questions: info@rhizome.org
>-> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
>-> give: http://rhizome.org/support
>+
>Subscribers to Rhizome are subject to the terms set out in the
>Membership Agreement available online at http://rhizome.org/info/29.php
>
  • annie abrahams | Sat Nov 18th 2006 10:35 a.m.
    Dear Salvatore
    This might be a good question.
    I must say I do like "Tabula Viusum a lot" and I have also seen more
    work in this vein (maybe yours)
    It could be something about the context of presentation that makes you
    think, react to it in a certain way.
    I guess for me it's the relation to film, the time element that makes
    the difference.

    Could you please send us the url of your work doing this stuff?

    thanks
    AA

    On 11/18/06, salvatore.iaconesi@fastwebnet.it
    <salvatore.iaconesi@fastwebnet.it> wrote:
    > i know i don't have all the "titles" and that it might sound a foolish
    > question:
    >
    > but haven't loads of folks been doing this stuff?
    >
    > even i've been doing this stuff, and i'm the laaaaaast little meaningless one
    > of a crowd...
    >
    > yes, yes, i know, you/we all grab stuff and attach meanings to it. we all do.
    > and blablabla...
    >
    > but isn't there something more interesting to "Spotlight"? :)
    >
    > this is meant to be a constructive criticism.
    >
    >
    > >----Messaggio originale----
    > >Dal: turbulence@turbulence.org
    > >Data: 17/11/2006 23.59
    > >A: "Jo-Anne Green"<jo@turbulence.org>
    > >Ogg: RHIZOME_RAW: Turbulence Spotlight: &quot;Tabula Visum: Tabular Vision
    > &amp; HTML Cinema&quot; by Patrick Lichty
    > >
    > >November 17, 2006
    > >Turbulence Spotlight: "Tabula Visum: Tabular Vision & HTML Cinema" by
    > >Patrick Lichty
    > >http://turbulence.org/spotlight/lichty
    > >
    > >Both static and dynamic digital images have often been represented as
    > >'translated' images, reinterpreted from an intermediate image file stored on
    > >the web. Beginning with these files, Lichty has translated the images and
    > >videos to pure HTML code. As such, they represent a very 'direct' method of
    > >representation in the browser. In addition, there is a time-based element
    > >that occurs when the tables load into the browser. Thus, "HTML Cinema" has
    > >two dimensions; the time of the load, and the time of the serial.
    > >
    > >Many of these images are excerpts from Lichty's wristcam photography and
    > >video works. After conversion to pure code, several of the pages were
    > >unmanageable; therefore, they are a hybrid of code and console handicraft by
    > >the artist.
    > >
    > >BIOGRAPHY
    > >
    > >Patrick Lichty is a technologically-based conceptual artist, writer,
    > >independent curator, animator for the activist group "The Yes Men," and
    > >Executive Editor of Intelligent Agent Magazine. His work spans over 15
    > >years, dealing with media narrative/criticism and information aesthetics, in
    > >many different contexts. He works in diverse technological media, including
    > >painting, mobile media, printmaking, kinetics, video, VR, generative music,
    > >and neon. Venues in which Lichty has been involved with solo and
    > >collaborative works include the Whitney Biennial and the International
    > >Symposium on the Electronic Arts (ISEA). Lichty is a faculty member in the
    > >Interactive Arts and Media Department at Columbia College Chicago.
    > >
    > >For more Turbulence Spotlights please visit http://turbulence.org/spotlight/
    > >
    > >Jo-Anne Green, Co-Director
    > >New Radio and Performing Arts, Inc.: http://new-radio.org
    > >New York: 917.548.7780 . Boston: 617.522.3856
    > >Turbulence: http://turbulence.org
    > >New American Radio: http://somewhere.org
    > >Networked_Performance Blog: http://turbulence.org/blog
    > >Upgrade! Boston: http://turbulence.org/upgrade
    > >
    > >
    > >
    > >
    > >+
    > >-> post: list@rhizome.org
    > >-> questions: info@rhizome.org
    > >-> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
    > >-> give: http://rhizome.org/support
    > >+
    > >Subscribers to Rhizome are subject to the terms set out in the
    > >Membership Agreement available online at http://rhizome.org/info/29.php
    > >
    >
    >
    >
    >
    > +
    > -> post: list@rhizome.org
    > -> questions: info@rhizome.org
    > -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
    > -> give: http://rhizome.org/support
    > +
    > Subscribers to Rhizome are subject to the terms set out in the
    > Membership Agreement available online at http://rhizome.org/info/29.php
    >

    --

    "FearingS" Participate in creating a collective voice about "fear".
    Help revealing it's actual tendencies. http://bram.org/peur/fear/
    "Peurs" Participez a la creation d'une voix collective autour de la
    "peur". Aidez a en reveler les tendances actuelles.
    http://bram.org/peur/fear/indexfr.htm
  • Michael Szpakowski | Sun Nov 19th 2006 6:23 a.m.
    Hi Salvatore
    I don't see why things always have to be new.
    Sometimes the most interesting art is that which
    consolidates rather than makes technical or even
    aesthetic breakthroughs.
    Schoenberg made a breakthrough in 20th century art
    music but his pupils Berg and Webern are much the more
    interesting and durable composers.
    I realy like this work by Patrick.
    It is elegant in the extreme - it appeals to our
    appreciation & understanding of his technical skill &
    of his own sense of where he lies in an ongoing
    tradition ( both of his and others' making -he is
    truly the *Prince of the Pixel*), but the end result
    is also somehow touching (not in a weak sentimental
    sense, but in the sense of reaching us emotionally in
    a complex way). So complex stuff to chew on but to an
    affective end...enough to make an excellent start in
    my book..
    I would like to ask three questions of Patrick:
    (1)Is there some software that automates pixel by
    pixel or small chunk by small chunk colour analysis of
    the images, or did you have to do it by hand with the
    eye dropper thing ( forgive me if there *is* &
    everyone but me knows it!)
    (2) Why a width of 5 or 3 and not single pixels -does
    the html page become impossibly big at 1?
    (3) Why is the refresh rate on the movies set so long?
    --10 secs, I think--was it trial and error to do with
    load time? I longed for pseudo cinematic motion,
    [which can, in fact, be achieved by the viewer, once
    the images have cycled through once, by using the
    browser forward & back buttons]
    best
    michael

    --- salvatore.iaconesi@fastwebnet.it wrote:

    > i know i don't have all the "titles" and that it
    > might sound a foolish
    > question:
    >
    > but haven't loads of folks been doing this stuff?
    >
    > even i've been doing this stuff, and i'm the
    > laaaaaast little meaningless one
    > of a crowd...
    >
    > yes, yes, i know, you/we all grab stuff and attach
    > meanings to it. we all do.
    > and blablabla...
    >
    > but isn't there something more interesting to
    > "Spotlight"? :)
    >
    > this is meant to be a constructive criticism.
    >
    >
    > >----Messaggio originale----
    > >Dal: turbulence@turbulence.org
    > >Data: 17/11/2006 23.59
    > >A: "Jo-Anne Green"<jo@turbulence.org>
    > >Ogg: RHIZOME_RAW: Turbulence Spotlight:
    > "Tabula Visum: Tabular Vision
    > & HTML Cinema" by Patrick Lichty
    > >
    > >November 17, 2006
    > >Turbulence Spotlight: "Tabula Visum: Tabular Vision
    > & HTML Cinema" by
    > >Patrick Lichty
    > >http://turbulence.org/spotlight/lichty
    > >
    > >Both static and dynamic digital images have often
    > been represented as
    > >'translated' images, reinterpreted from an
    > intermediate image file stored on
    > >the web. Beginning with these files, Lichty has
    > translated the images and
    > >videos to pure HTML code. As such, they represent a
    > very 'direct' method of
    > >representation in the browser. In addition, there
    > is a time-based element
    > >that occurs when the tables load into the browser.
    > Thus, "HTML Cinema" has
    > >two dimensions; the time of the load, and the time
    > of the serial.
    > >
    > >Many of these images are excerpts from Lichty's
    > wristcam photography and
    > >video works. After conversion to pure code, several
    > of the pages were
    > >unmanageable; therefore, they are a hybrid of code
    > and console handicraft by
    > >the artist.
    > >
    > >BIOGRAPHY
    > >
    > >Patrick Lichty is a technologically-based
    > conceptual artist, writer,
    > >independent curator, animator for the activist
    > group "The Yes Men," and
    > >Executive Editor of Intelligent Agent Magazine. His
    > work spans over 15
    > >years, dealing with media narrative/criticism and
    > information aesthetics, in
    > >many different contexts. He works in diverse
    > technological media, including
    > >painting, mobile media, printmaking, kinetics,
    > video, VR, generative music,
    > >and neon. Venues in which Lichty has been involved
    > with solo and
    > >collaborative works include the Whitney Biennial
    > and the International
    > >Symposium on the Electronic Arts (ISEA). Lichty is
    > a faculty member in the
    > >Interactive Arts and Media Department at Columbia
    > College Chicago.
    > >
    > >For more Turbulence Spotlights please visit
    > http://turbulence.org/spotlight/
    > >
    > >Jo-Anne Green, Co-Director
    > >New Radio and Performing Arts, Inc.:
    > http://new-radio.org
    > >New York: 917.548.7780 . Boston: 617.522.3856
    > >Turbulence: http://turbulence.org
    > >New American Radio: http://somewhere.org
    > >Networked_Performance Blog:
    > http://turbulence.org/blog
    > >Upgrade! Boston: http://turbulence.org/upgrade
    > >
    > >
    > >
    > >
    > >+
    > >-> post: list@rhizome.org
    > >-> questions: info@rhizome.org
    > >-> subscribe/unsubscribe:
    > http://rhizome.org/preferences/subscribe.rhiz
    > >-> give: http://rhizome.org/support
    > >+
    > >Subscribers to Rhizome are subject to the terms set
    > out in the
    > >Membership Agreement available online at
    > http://rhizome.org/info/29.php
    > >
    >
    >
    >
    >
    > +
    > -> post: list@rhizome.org
    > -> questions: info@rhizome.org
    > -> subscribe/unsubscribe:
    > http://rhizome.org/preferences/subscribe.rhiz
    > -> give: http://rhizome.org/support
    > +
    > Subscribers to Rhizome are subject to the terms set
    > out in the
    > Membership Agreement available online at
    > http://rhizome.org/info/29.php
    >
  • patrick lichty | Sun Nov 19th 2006 2:02 p.m.
    Thanks for the discussion, everyone...
    It's getting close to end of semester, and I'm a little ebaked, so I'll
    be pretty brief.

    (1)Is there some software that automates pixel by
    pixel or small chunk by small chunk colour analysis of
    the images, or did you have to do it by hand with the
    eye dropper thing ( forgive me if there *is* &
    everyone but me knows it!)

    I could, but I got started with some of the images with Don Relyea's
    Reductionizer software, now mentioned on the page. The thing is that it
    doesn't give you centering, background color, and the files are too
    large to deal with any WYSIWYG editor, so I have to reformat them in
    Notepad.

    (2) Why a width of 5 or 3 and not single pixels -does
    the html page become impossibly big at 1?

    Not really - the images get small. What you see is the original
    resolution of many of the files. Many of them are wristcams (120x120).
    So, I wanted them to be larger.

    (3) Why is the refresh rate on the movies set so long?
    --10 secs, I think--was it trial and error to do with
    load time? I longed for pseudo cinematic motion,
    [which can, in fact, be achieved by the viewer, once
    the images have cycled through once, by using the
    browser forward & back buttons]

    OK, here's where it gets complex.

    I was looking for a negotiation between 'browser time' and "gallery
    time'.
    What I mean by this is that installation (gallery) time is something
    that privileges slower changes (read: Viola/Aitken). Browser time is
    much faster as it refers to near-straight download time for the
    unfolding of a work.

    The BIG problem here is that If I adhered to browser time, I would not
    be able to load the images quickly enough on slower bandwidth to
    accommodate for the refresh statement. Therefore, the morphology of the
    piece is also dependent on the bandwidth of the user.

    In addition, the piece is designed for gallery installation as well as
    browser viewing. For example, loops of the digital shadow puppets would
    allow for gallery goers to have a sip of their chardonnay and see a
    change after a minute of chat. Gallery time is a much more 'Lush' time
    than that of the browser, and ten seconds seemed like a good
    negotiation.

    Would it be appropriate to post a "5 second flavour" and a "1 Second
    Flavour" (playfully referring to denotation of variation within Eastern
    Media?")

    Patrick Lichty
    - Interactive Arts & Media
    Columbia College, Chicago
    - Editor-In-Chief
    Intelligent Agent Magazine
    http://www.intelligentagent.com
    225 288 5813
    voyd@voyd.com

    "It is better to die on your feet
    than to live on your knees."

    I realy like this work by Patrick.
    It is elegant in the extreme - it appeals to our
    appreciation & understanding of his technical skill &
    of his own sense of where he lies in an ongoing
    tradition ( both of his and others' making -he is
    truly the *Prince of the Pixel*), but the end result
    is also somehow touching (not in a weak sentimental
    sense, but in the sense of reaching us emotionally in
    a complex way). So complex stuff to chew on but to an
    affective end...enough to make an excellent start in
    my book..
    I would like to ask three questions of Patrick:
    (1)Is there some software that automates pixel by
    pixel or small chunk by small chunk colour analysis of
    the images, or did you have to do it by hand with the
    eye dropper thing ( forgive me if there *is* &
    everyone but me knows it!)
    (2) Why a width of 5 or 3 and not single pixels -does
    the html page become impossibly big at 1?
    (3) Why is the refresh rate on the movies set so long?
    --10 secs, I think--was it trial and error to do with
    load time? I longed for pseudo cinematic motion,
    [which can, in fact, be achieved by the viewer, once
    the images have cycled through once, by using the
    browser forward & back buttons]
    best
    michael

    --- salvatore.iaconesi@fastwebnet.it wrote:

    > i know i don't have all the "titles" and that it
    > might sound a foolish
    > question:
    >
    > but haven't loads of folks been doing this stuff?
    >
    > even i've been doing this stuff, and i'm the
    > laaaaaast little meaningless one
    > of a crowd...
    >
    > yes, yes, i know, you/we all grab stuff and attach
    > meanings to it. we all do.
    > and blablabla...
    >
    > but isn't there something more interesting to
    > "Spotlight"? :)
    >
    > this is meant to be a constructive criticism.
    >
    >
    > >----Messaggio originale----
    > >Dal: turbulence@turbulence.org
    > >Data: 17/11/2006 23.59
    > >A: "Jo-Anne Green"<jo@turbulence.org>
    > >Ogg: RHIZOME_RAW: Turbulence Spotlight:
    > "Tabula Visum: Tabular Vision
    > & HTML Cinema" by Patrick Lichty
    > >
    > >November 17, 2006
    > >Turbulence Spotlight: "Tabula Visum: Tabular Vision
    > & HTML Cinema" by
    > >Patrick Lichty
    > >http://turbulence.org/spotlight/lichty
    > >
    > >Both static and dynamic digital images have often
    > been represented as
    > >'translated' images, reinterpreted from an
    > intermediate image file stored on
    > >the web. Beginning with these files, Lichty has
    > translated the images and
    > >videos to pure HTML code. As such, they represent a
    > very 'direct' method of
    > >representation in the browser. In addition, there
    > is a time-based element
    > >that occurs when the tables load into the browser.
    > Thus, "HTML Cinema" has
    > >two dimensions; the time of the load, and the time
    > of the serial.
    > >
    > >Many of these images are excerpts from Lichty's
    > wristcam photography and
    > >video works. After conversion to pure code, several
    > of the pages were
    > >unmanageable; therefore, they are a hybrid of code
    > and console handicraft by
    > >the artist.
    > >
    > >BIOGRAPHY
    > >
    > >Patrick Lichty is a technologically-based
    > conceptual artist, writer,
    > >independent curator, animator for the activist
    > group "The Yes Men," and
    > >Executive Editor of Intelligent Agent Magazine. His
    > work spans over 15
    > >years, dealing with media narrative/criticism and
    > information aesthetics, in
    > >many different contexts. He works in diverse
    > technological media, including
    > >painting, mobile media, printmaking, kinetics,
    > video, VR, generative music,
    > >and neon. Venues in which Lichty has been involved
    > with solo and
    > >collaborative works include the Whitney Biennial
    > and the International
    > >Symposium on the Electronic Arts (ISEA). Lichty is
    > a faculty member in the
    > >Interactive Arts and Media Department at Columbia
    > College Chicago.
    > >
    > >For more Turbulence Spotlights please visit
    > http://turbulence.org/spotlight/
    > >
    > >Jo-Anne Green, Co-Director
    > >New Radio and Performing Arts, Inc.:
    > http://new-radio.org
    > >New York: 917.548.7780 . Boston: 617.522.3856
    > >Turbulence: http://turbulence.org
    > >New American Radio: http://somewhere.org
    > >Networked_Performance Blog:
    > http://turbulence.org/blog
    > >Upgrade! Boston: http://turbulence.org/upgrade
    > >
    > >
    > >
    > >
    > >+
    > >-> post: list@rhizome.org
    > >-> questions: info@rhizome.org
    > >-> subscribe/unsubscribe:
    > http://rhizome.org/preferences/subscribe.rhiz
    > >-> give: http://rhizome.org/support
    > >+
    > >Subscribers to Rhizome are subject to the terms set
    > out in the
    > >Membership Agreement available online at
    > http://rhizome.org/info/29.php
    > >
    >
    >
    >
    >
    > +
    > -> post: list@rhizome.org
    > -> questions: info@rhizome.org
    > -> subscribe/unsubscribe:
    > http://rhizome.org/preferences/subscribe.rhiz
    > -> give: http://rhizome.org/support
    > +
    > Subscribers to Rhizome are subject to the terms set
    > out in the
    > Membership Agreement available online at
    > http://rhizome.org/info/29.php
    >

    +
    -> post: list@rhizome.org
    -> questions: info@rhizome.org
    -> subscribe/unsubscribe: http://rhizome.org/preferences/subscribe.rhiz
    -> give: http://rhizome.org/support
    +
    Subscribers to Rhizome are subject to the terms set out in the
    Membership Agreement available online at http://rhizome.org/info/29.php
  • Michael Szpakowski | Sun Nov 19th 2006 3:06 p.m.
    thanks Patrick! - very clear! - personally I think it
    might be nice to have different "flavours", but I
    entirely see your reasoning behind the current
    set-up..
    michael
    --- patrick lichty <voyd@voyd.com> wrote:

    > Thanks for the discussion, everyone...
    > It's getting close to end of semester, and I'm a
    > little ebaked, so I'll
    > be pretty brief.
    >
    > (1)Is there some software that automates pixel by
    > pixel or small chunk by small chunk colour analysis
    > of
    > the images, or did you have to do it by hand with
    > the
    > eye dropper thing ( forgive me if there *is* &
    > everyone but me knows it!)
    >
    > I could, but I got started with some of the images
    > with Don Relyea's
    > Reductionizer software, now mentioned on the page.
    > The thing is that it
    > doesn't give you centering, background color, and
    > the files are too
    > large to deal with any WYSIWYG editor, so I have to
    > reformat them in
    > Notepad.
    >
    > (2) Why a width of 5 or 3 and not single pixels
    > -does
    > the html page become impossibly big at 1?
    >
    > Not really - the images get small. What you see is
    > the original
    > resolution of many of the files. Many of them are
    > wristcams (120x120).
    > So, I wanted them to be larger.
    >
    > (3) Why is the refresh rate on the movies set so
    > long?
    > --10 secs, I think--was it trial and error to do
    > with
    > load time? I longed for pseudo cinematic motion,
    > [which can, in fact, be achieved by the viewer, once
    > the images have cycled through once, by using the
    > browser forward & back buttons]
    >
    > OK, here's where it gets complex.
    >
    > I was looking for a negotiation between 'browser
    > time' and "gallery
    > time'.
    > What I mean by this is that installation (gallery)
    > time is something
    > that privileges slower changes (read: Viola/Aitken).
    > Browser time is
    > much faster as it refers to near-straight download
    > time for the
    > unfolding of a work.
    >
    > The BIG problem here is that If I adhered to browser
    > time, I would not
    > be able to load the images quickly enough on slower
    > bandwidth to
    > accommodate for the refresh statement. Therefore,
    > the morphology of the
    > piece is also dependent on the bandwidth of the
    > user.
    >
    > In addition, the piece is designed for gallery
    > installation as well as
    > browser viewing. For example, loops of the digital
    > shadow puppets would
    > allow for gallery goers to have a sip of their
    > chardonnay and see a
    > change after a minute of chat. Gallery time is a
    > much more 'Lush' time
    > than that of the browser, and ten seconds seemed
    > like a good
    > negotiation.
    >
    > Would it be appropriate to post a "5 second flavour"
    > and a "1 Second
    > Flavour" (playfully referring to denotation of
    > variation within Eastern
    > Media?")
    >
    >
    > Patrick Lichty
    > - Interactive Arts & Media
    > Columbia College, Chicago
    > - Editor-In-Chief
    > Intelligent Agent Magazine
    > http://www.intelligentagent.com
    > 225 288 5813
    > voyd@voyd.com
    >
    > "It is better to die on your feet
    > than to live on your knees."
    >
    >
    > I realy like this work by Patrick.
    > It is elegant in the extreme - it appeals to our
    > appreciation & understanding of his technical skill
    > &
    > of his own sense of where he lies in an ongoing
    > tradition ( both of his and others' making -he is
    > truly the *Prince of the Pixel*), but the end result
    > is also somehow touching (not in a weak sentimental
    > sense, but in the sense of reaching us emotionally
    > in
    > a complex way). So complex stuff to chew on but to
    > an
    > affective end...enough to make an excellent start in
    > my book..
    > I would like to ask three questions of Patrick:
    > (1)Is there some software that automates pixel by
    > pixel or small chunk by small chunk colour analysis
    > of
    > the images, or did you have to do it by hand with
    > the
    > eye dropper thing ( forgive me if there *is* &
    > everyone but me knows it!)
    > (2) Why a width of 5 or 3 and not single pixels
    > -does
    > the html page become impossibly big at 1?
    > (3) Why is the refresh rate on the movies set so
    > long?
    > --10 secs, I think--was it trial and error to do
    > with
    > load time? I longed for pseudo cinematic motion,
    > [which can, in fact, be achieved by the viewer, once
    > the images have cycled through once, by using the
    > browser forward & back buttons]
    > best
    > michael
    >
    > --- salvatore.iaconesi@fastwebnet.it wrote:
    >
    > > i know i don't have all the "titles" and that it
    > > might sound a foolish
    > > question:
    > >
    > > but haven't loads of folks been doing this stuff?
    > >
    > > even i've been doing this stuff, and i'm the
    > > laaaaaast little meaningless one
    > > of a crowd...
    > >
    > > yes, yes, i know, you/we all grab stuff and attach
    > > meanings to it. we all do.
    > > and blablabla...
    > >
    > > but isn't there something more interesting to
    > > "Spotlight"? :)
    > >
    > > this is meant to be a constructive criticism.
    > >
    > >
    > > >----Messaggio originale----
    > > >Dal: turbulence@turbulence.org
    > > >Data: 17/11/2006 23.59
    > > >A: "Jo-Anne Green"<jo@turbulence.org>
    > > >Ogg: RHIZOME_RAW: Turbulence Spotlight:
    > > "Tabula Visum: Tabular Vision
    > > & HTML Cinema" by Patrick Lichty
    > > >
    > > >November 17, 2006
    > > >Turbulence Spotlight: "Tabula Visum: Tabular
    > Vision
    > > & HTML Cinema" by
    > > >Patrick Lichty
    > > >http://turbulence.org/spotlight/lichty
    > > >
    > > >Both static and dynamic digital images have often
    > > been represented as
    > > >'translated' images, reinterpreted from an
    > > intermediate image file stored on
    > > >the web. Beginning with these files, Lichty has
    > > translated the images and
    > > >videos to pure HTML code. As such, they represent
    > a
    > > very 'direct' method of
    > > >representation in the browser. In addition, there
    > > is a time-based element
    > > >that occurs when the tables load into the
    > browser.
    > > Thus, "HTML Cinema" has
    > > >two dimensions; the time of the load, and the
    > time
    > > of the serial.
    > > >
    > > >Many of these images are excerpts from Lichty's
    > > wristcam photography and
    > > >video works. After conversion to pure code,
    > several
    > > of the pages were
    > > >unmanageable; therefore, they are a hybrid of
    > code
    > > and console handicraft by
    > > >the artist.
    > > >
    > > >BIOGRAPHY
    > > >
    > > >Patrick Lichty is a technologically-based
    > > conceptual artist, writer,
    > > >independent curator, animator for the activist
    > > group "The Yes Men," and
    > > >Executive Editor of Intelligent Agent Magazine.
    > His
    > > work spans over 15
    > > >years, dealing with media narrative/criticism and
    > > information aesthetics, in
    > > >many different contexts. He works in diverse
    > > technological media, including
    > > >painting, mobile media, printmaking, kinetics,
    > > video, VR, generative music,
    > > >and neon. Venues in which Lichty has been
    > involved
    > > with solo and
    > > >collaborative works include the Whitney Biennial
    > > and the International
    > > >Symposium on the Electronic Arts (ISEA). Lichty
    > is
    > > a faculty member in the
    > > >Interactive Arts and Media Department at Columbia
    > > College Chicago.
    > > >
    > > >For more Turbulence Spotlights please visit
    > > http://turbulence.org/spotlight/
    > > >
    > > >Jo-Anne Green, Co-Director
    > > >New Radio and Performing Arts, Inc.:
    > > http://new-radio.org
    > > >New York: 917.548.7780 . Boston: 617.522.3856
    > > >Turbulence: http://turbulence.org
    > > >New American Radio: http://somewhere.org
    > > >Networked_Performance Blog:
    > > http://turbulence.org/blog
    > > >Upgrade! Boston: http://turbulence.org/upgrade
    > > >
    > > >
    > > >
    > > >
    > > >+
    > > >-> post: list@rhizome.org
    > > >-> questions: info@rhizome.org
    > > >-> subscribe/unsubscribe:
    > > http://rhizome.org/preferences/subscribe.rhiz
    > > >-> give: http://rhizome.org/support
    > > >+
    > > >Subscribers to Rhizome are subject to the terms
    > set
    > > out in the
    > > >Membership Agreement available online at
    > > http://rhizome.org/info/29.php
    > > >
    > >
    > >
    > >
    > >
    > > +
    > > -> post: list@rhizome.org
    > > -> questions: info@rhizome.org
    > > -> subscribe/unsubscribe:
    > > http://rhizome.org/preferences/subscribe.rhiz
    > > -> give: http://rhizome.org/support
    > > +
    > > Subscribers to Rhizome are subject to the terms
    > set
    > > out in the
    > > Membership Agreement available online at
    > > http://rhizome.org/info/29.php
    > >
    >
    >
    >
    > +
    > -> post: list@rhizome.org
    > -> questions: info@rhizome.org
    > -> subscribe/unsubscribe:
    > http://rhizome.org/preferences/subscribe.rhiz
    > -> give: http://rhizome.org/support
    > +
    > Subscribers to Rhizome are subject to the terms set
    > out in the
    > Membership Agreement available online at
    > http://rhizome.org/info/29.php
    >
    > +
    > -> post: list@rhizome.org
    > -> questions: info@rhizome.org
    > -> subscribe/unsubscribe:
    > http://rhizome.org/preferences/subscribe.rhiz
    > -> give: http://rhizome.org/support
    > +
    > Subscribers to Rhizome are subject to the terms set
    > out in the
    > Membership Agreement available online at
    > http://rhizome.org/info/29.php
    >
Your Reply