Electronic Art (eBook)

Front Cover 1
Electronic Art 2
Copyright Page 2
Table of Contents 3
EDITORIAL 5
Chapter 1. Perceptual Correspondences of Abstract Animation and Synthetic Sound 7
DYNAMICS 8
Bibliography 8
Chapter 2. Art and Education in the Telematic Culture 10
APPENDIX 14
References 15
Chapter 3. The Electronic Bauhaus: Gestalt Technologies and the Electronic Challenge to Visual Art 17
THE ISDN FOR ART: TOWARDS ANARCHITECTURE OF COMMUNICATION 17
ECOTECHNOLOGY:DESIGN WITHECOLOGY 19
THE EXPERT SYSTEMARTIST:FIFTH-GENERATIONCOMPUTER CULTURE 20
References and Notes 22
Chapter 4. Logic and Time-Based Art Practice 23
SYSTEMATIC CONSTRUCTION 23
LOGIC PROGRAMMINGAND IMAGE HANDLING 23
THE INFERENCE SYSTEM AND STRUCTURES IN TIME 23
JASPER: A SAMPLE WORK 23
FURTHER OPPORTUNITIES 24
Chapter 5. Computational Art 25
THE CONSTRUCTION OF AN IMAGINATIVE ARTIFACT 25
NOTATIONAL SYSTEMS 26
THE ALGORITHMIC GENIUS 27
CONCLUSION 28
References 28
Chapter 6. Establishing a Tonic Space with Digital Color 31
TONIC SPACE 31
METHOD OF MEASURE 32
TOWARDS DIGITAL COLOR CONCORD 32
RESERVATIONS AND CONCLUSIONS 33
Acknowledgments 33
Selected Reading 33
Chapter 7. The Creation Station: An Approach to a Multimedia Workstation 35
INTRODUCTION TO THE CREATION STATION 35
SOME SPECIFIC DESIGN CRITERIA 35
POTENTIAL PROGRAMMING OBSTACLES 36
INTRODUCTION TO OBJECT-ORIENTED PROGRAMMING LANGUAGES AND OBJECTIVE-C 36
PROGRAMMING IN OOPLS 37
THE CREATION STATION BASICS 38
THE EDITOR AND EDITORUI 40
CONCLUSION 40
Bibliography 41
Chapter 8. Computer Music Languages . . .and the Real World 43
COMPUTER MUSIC LANGUAGES 43
PROPOSAL FOR CLASSIFICATION 44
CLASSIFICATION FOR PROGRAMMING LANGUAGES 44
CLASSIFICATION FOR MUSIC LANGUAGES 45
CONCLUSIONS 45
References and Notes 46
Further Reading 46
Chapter 9. Computer Graphics and Animationas Agents of Personal Evolution in the Arts 47
THE CHARACTERISTICS OF 'COMPUTER ART' 47
THE CONSTRAINTSOF COMPUTER GRAPHICS TECHNOLOGY 48
THE CREATIVE ACT AS PERSONAL EVOLUTION 48
THECHARACTERISTICS OF CREATIVE PROCESS 48
THE COMPUTER AS AN EVOLUTIONARY AGENT 49
References 50
Chapter 10. Storing Art Images in Intelligent Computers 51
THE STORAGE PROBLEM 52
RECOVERING IMAGES FROM STORAGE 53
PROVIDING IMAGE INTELLIGENCE TO THE COMPUTER 55
ECONOMY RESULTING FROM INTELLIGENT IMAGE STORAGE 57
CONCLUSION 58
Acknowledgement 58
References and Notes 58
Chapter 11. The Making of a Film with Synthetic Actors 59
SCENARIO 59
CREATION OF THE ACTORS 59
ANIMATING THE HUMAN BODY 61
ANIMATING THE HANDS 62
ANIMATING A HUMAN FACE 63
REALISTIC ASPECTS 64
SYNTHETIC CAMERAS AND LIGHTS 65
References and Notes 66
Chapter 12. Towards a Universal and Intelligent MIDI-Based Stage System: A Composer/Performer's Testimony 67
ROBOTICS IN SYNCHOROS 67
SYNCHOROS IN THE CONYINUITY 68
THE CURRENT SYNCHOROS SYSTEM 69
METHODOLOGY:A NEW MUSIC-MACHINE RELATIONSHIP 70
INTERDEPENDENCE OF THE MUSICAL LEVELS 70
DEVELOPMENT OF THE SYSTEM 71
Chapter 13. Geometric Image Modelling of the Musical Object 73
THE PATTERN, THE RHYTHM AND THE IMAGE 73
GRAPHIC REPRESENTATION OF MUSICAL KNOWLEDGE 74
GRAPHIC SPECTRAL REPRESENTATION OF THE MUSICAL PHRASE 75
CONCLUSION AND FUTURE APPLICATIONS 76
References 76
Chapter 14. The Computer: Liberator or Jailerof the Creative Spirit 77
PREAMBLE 77
THE HISTORICAL ROLE OF TECHNOLOGY IN THE VISUAL ARTS 77
THE ROLE OF SCIENCE AND MATHEMATICS IN THE VISUAL ARTS 77
IS THERE A RELATIONSHIP BETWEEN ART AND AESTHETICS? 79
IS THERE A COMPUTER IMAGING AESTHETIC? 80
WHAT DO WE MEAN BY 'COMPUTER ART'? 82
ADVANTAGES AND DISADVANTAGES OF THE COMPUTER FOR THE ARTIST 83
MY OWN WORK 84
Reference 84
Chapter 15. The Aesthetics of Exhibition:A Discussion of Recent American Computer Art Shows 87
A HISTORICAL APPROACH TO THE DISPLAY OF NEW ART 88
THE CHALLENGES INVOLVED IN THE MOUNTING OF COMPUTER ART 91
CONTEMPORARY ART SPACES: STATIC VS.DYNAMIC 91
WHAT GETS VIEWED 92
ART GALLERIES OF THE FUTURE 93
References 94
Chapter 16. The Staging of Leonardo's Last Supper: A Computer-Based Exploration of Its Perspective 95
THE LAST SUPPER 96
PERSPECTIVE MODEL 99
DISCUSSION 101
SUMMARY 101
Acknowledgments 102
References and Notes 102
Chapter 17. State-of-the-Art Art 103
HARDWARE, SOFTWARE AND ART 103
WHAT IS ART, ANYWAY? 103
IT HAS HAPPENED BEFORE 103
FUTURE TRENDS 104
Chapter 18. A New Language for Artistic Expression: The Electronic Arts Landscape 105
A NEW LANGUAGE 105
A NEW VOCABULARY 106
NEW ART FORMS 108
Bibliography 108
Chapter 19. Some Issues in the Development of Computer Art as a Mathematical Art Form 109
THE COMPUTER AS ARTIST 110
Al AND PROBLEMS OF SEMANTICS 111
PLATONISM AND FORMALISM IN MATHEMATICS AND ART 113
MATHEMATICS AS CULTURE 114
MATHEMATICS AS COMPUTER ART 115
References 116
Chapter 20. Orphics: Computer Graphics and the Shaping of Time with Color 117
THEMATIC TRANSFORMATION 117
IMAGE FORMATION 117
DIMENSIONAL UPGRADES 119
THEMATIC DISSOLVES 120
DISCUSSION AND CONCLUSION 121
References and Notes 122
ABSTRACTS 123
MIXED MEDIA STUDIESIN TACTILITY: ANALTERNATIVE TO 'COMPUTER ART' 123
ART COMMUNICATION AND THE WELL 124
NEW ART ONLINE 124
IMAGE PROCESSING:AN UNDER-UTILIZED RESOURCE FOR COMPUTER ART 125
IMAGE PROCESSING 125
THEORETICAL STATEMENT CONCERNING COMPUTER/ROBOTIC PAINTINGS 126
CYBERNETIC JEWELRY 126
EXTENDED MUSICAL INTERFACE WITH THE HUMAN NERVOUS SYSTEM: ASSESSMENT AND PROSPECTUS 127
DYNAMIC ON-LINE ARCHITECURE 128
PATT_PROCl: A COMPUTER-ASSISTED COMPOSITION PROGRAM 128