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.
Not of this Earth (1978) - Barbara Latham, John Manning, and Ed Rankus
This is a example of early video art using the color capability of the Sandin Analogue Image Processor - the "Color IP".
Wandawega Waters (1978) - Dan Sandin
This is a example of early video art using the color capability of the Sandin Analogue Image Processor - the "Color IP".
Return to Planet Claire (1981) - Sue Forner and Rick Frankel
This is an example of early computer graphics animation developed by students at the Electronic Visualization Lab using the Datamax UV-1 and Zgrass.
Floater Final Sequence (1983) - Jane Veeder
This is an example of early computer graphics animation developed by Jane Veeder at the Electronic Visualization Lab, using the Datamax UV1 graphics system and ZGrass programming language.
Pioneering Digital Artist Camille Utterback Receives MacArthur Fellowship
Text Rain (1999) by Camille Utterback and Romy Achituv
Known for her "physical-digital systems" that call attention to the body in an increasingly mediated culture, Camille Utterback has been awarded a MacArthur Fellowship. The artist describes Text Rains (1999) as "an interactive installation in which participants use the familiar instrument of their bodies, to do what seems magical—to lift and play with falling letters that do not really exist.".
Interview with Casey Reas and Ben Fry
Created by Casey Reas and Ben Fry, Processing is an open source programming language and environment for people who want to program images, animation, and interactions. It is used by students, artists, designers, researchers, and hobbyists for learning, prototyping, and production. It is created to teach fundamentals of computer programming within a visual context and to serve as a software sketchbook and professional production tool. Processing is an alternative to proprietary software tools in the same domain.
I first discovered Processing in 2003 at ITP while exploring different options for creating a set of tutorials about generative algorithms. We quickly realized that Processing could transform our approach to teaching programming and have adopted it as the language learned by all incoming students. I’m thrilled to have this chance to talk to Casey and Ben a little about the origins of Processing, their philosophy, work, and plans for the future. - Daniel Shiffman
Group Dynamics
“Quartet without Pyramid Scheme” does not, in fact, have anything to do with financial machinations, and the title of this experiment in sound installation and improvisation is a dry foil for how it actually unfolds at Brooklyn’s Diapason gallery over four Saturdays in September. Jordan Paul, the organizer of the project, began it September 5 with a pair of parallel installations in Diapason’s gallery and lounge spaces, both of which used the same set of samples—a water boiler, miked CD and DVD players, a malfunctioning audio cord—run through a MaxMSP patch that determined their placement and duration in each channel. A week later Reed Evan Rosenberg introduced some drama by adding the deep rumble of a laundromat to the array of household appliance sounds. But contrast was less a concern for Paul than a close fit as an ensemble, which is why he chose artists he had collaborated with before and requested they bring field recordings of ambient noise. While the work is declared a quartet from the start, it’s not until the last week that all four artists will be present in the gallery, which suggests an understanding of time as being as static as space is ordinarily perceived—an approach supported by the use of sounds connected to locations, and then shuffling and layering them to further mask any hints of the linear temporal movement. As the artists come to remix the samples in Diapason’s lounge each week, they retain equal shares in the quartet—unlike in a pyramid scheme—and rather than bringing a climax and collapse, the meeting of all four at the last session ought to turn out as a rearrangement of set elements, an improvisational structure that ...
Reminder
Join us tonight at 7pm at the New Museum for "the Art of Blandman: An Evening with Michael Smith."
Visit the link below for tickets and details:
Posted by c.kaczmarek
-copy.jpg.100x100_q95_crop_1.jpg)
Michael Connor