Essay about Digital Art Technology
American Illustration
Surrealism Essay
What Is Self Worth Essay
Illustration Paragraph
Essay on Family Systems Theory
The Artist And The Art Essay
Gallery of Student WritingShernel WoodmanPrinciples of Design.docxshericehewat
Gallery of Student Writing
Shernel Woodman
Principles of Design
“Train of Thought” by Leo Bridle
Simple Outline
“A Journey for Love”
I. Leo Bridle and Ben Thomas were the film makers.
a. I believe they are in their late 20s and early 30s, and they graduated from the Arts Institute at Bournemouth.
b. From the United Kingdom.
II. The basic structure of the artwork is Film.
a. Material used was digital compositing software and all the animations were done by hand and not the compositing software.
b. The subject of the seemed to be the young artist and he seemed to have been in search of someone. Everything seemed to be between and a gray/sepia scale with a design using cut outs and wooden toys.
III. I think this whole film was based on love.
a. My 1st idea is that he is trying to find the woman he loved. He may have seen her before at the station and drawn her out of memory and may have come back to find her there. When he didn’t, he hopped on the train in search for her only to come up empty. I believe he used his drawing pad as some sort of map as to where she may have been. When he doesn’t find her, he returns to the station once again and this time, he finds her. He then realizes that she may be an artist as well and may have gone through the same processes to find each other.
b. My 2nd idea is that he may have drawn her as well as the other drawings in his book subconsciously and realized this was a woman he had to meet. He then returns to the train station, which is the setting of his drawing. When she doesn’t come, he hops on the train and then goes in search for the woman that he loves. When he doesn’t find her he returns back to the station and that is where he finally sees her. They go towards each other and hold hands, seeming like they both went through the same measures to find each other.
I think the way the film makers used photography and film made this a very interesting form of media. Everything looked cartooned and real at the same time. The train station and the train themselves looked like they were made out of wooden toys and the people all looked like cut outs that were animated to look like they were moving, inside of their cut out frames. This was a well done film and they filmmakers did a wonderful job. I must say it sure caught my attention.
Linda Hoffman-Ostroff
Techniques, Materials, and Form
Introduction to the Drinking Maiden Exhibition
Story Style
"A Maiden in Born"
My color is milky white and thus a maiden is born... I was created by the great sculptural artist Ernst Wenck in 1901. He created my soft white body by using his strong meticulous hands. He is indeed an artist. I was created in a time when conservatism was not very popular. Because of my intricate detail and the delicate image I carry I became a model for porcelain miniatures.
If you study my structure you see the qualities that may have lead to my continued popularity. I lean forward and you see the muscle tone of my leg by the light tha ...
ARE 494 Digital Ethnography MichaelmichaelmotorcycleMichael Gipson
I am a student at Arizona State University and this is my final project for ARE 494 Digital Ethnography. It is a class that examines digital culture in the virtual world of Second Life. It was an amazing and unique experience.
Digital approaches for the arts - 2013 - Unthinkable ConsultingJustinSpooner
A set of slides from my talk for IT4Arts in February 2013. The focus of the talk was to look at a range of digital approaches that organisations and artists have used over the last few years and consider how we might apply the lessons learnt to our future activity. I have included some speaker's as part of the slides so that it makes more sense a stand-alone piece of content.
Justin Spooner - Director - Unthinkable Consulting
What if you could see through the walls of every museum and something could t...Chris Thorpe
A talk I was asked to give at Culture Hackday in London, talking about the thinking that's been going on in the latest project I'm a part of; Artfinder.
PROJECT #7 – street artGoal Street art is the newest and mos.docxwkyra78
PROJECT #7 – street art
Goal:
Street art is the newest and most exciting segment of the contemporary art world. This assignment will allow you to create your own street art persona.
Assignment:
We’ve just viewed Banksy’s Exit Through The Gift Shop and have been introduced to street artists such as, Shepard Fairey, Mr. Brainwash, Monsieur André, and Space Invader. Now it is time to create your own street art persona.
1) Give yourself a name, such as when Thierry Guetta became “Mr Brainwash”
2) Define your goals and intentions as a street artist
3) What message does your work contain?
4) Where is your street art going to be placed so people will see it?
5) What medium are you going to use? What size is it ideally going to be?
Develop your ideas and write an essay explaining the five bullet points above.
Create a work of street art! ON PAPER! Attach it to your essay.
Essay Format:
· Upper left hand corner of the paper should have (single-spaced)
Your Name
Days and Time of Class
Project Number
· Skip two lines and begin your paper…do not give your paper a title
· One-Page (20-23 lines of text)
· Typed
· Double Spaced (Format—>Paragraph—>Spacing—>Double—>Click OK)
· 1” Margins (Format—>Document—>Change Margins—>Click OK)
· 10-point font
· Don’t forget to proofread your paper! Grammar does count!
Art Format:
· Complete your work on a standard 8.5” x 11” sheet of paper. Do not deviate from this.
· The medium is up to you, but pencil is preferred
· You can also create something via computer, but remember YOU have to create it!
· An example is below.
The Packet:
Essay
Attach a sample of your street art
Point Value: 25 points
Due Date: Monday, April 20th.
An “A” Student
Project #5
As the world of street art continues to expand, more new and innovative forms of art are being displayed all around the world – from LA to Paris to New York City and more. When trying to figure out what piece of street art to create myself, it took me awhile before I dedicated myself to a certain image because there were so many ideas running through my head. I chose my primary form of street art to depict a cartoon detective with the word “create” at the bottom of his coat holding a magnifying glass that reveals an inkblot from the Rorschach test. Based on this image, I would call myself “Detective J.”
All-in-all, my street art does not portray a particularly deep or meaningful subject and is not extremely difficult to create, yet I feel that the message I want viewers to receive from this image is still an important one for people to remember. The Rorschach inkblot test is typically used for psychological purposes to determine a person’s personality characteristics and emotional functionality. Personally, I believe it is also a test of the imagination, a method of creation and interaction with each other and with an individual’s personal creative side. As a street artist, my goal is to promote these artistic characteristics – crea ...
Essay about Digital Art Technology
American Illustration
Surrealism Essay
What Is Self Worth Essay
Illustration Paragraph
Essay on Family Systems Theory
The Artist And The Art Essay
Gallery of Student WritingShernel WoodmanPrinciples of Design.docxshericehewat
Gallery of Student Writing
Shernel Woodman
Principles of Design
“Train of Thought” by Leo Bridle
Simple Outline
“A Journey for Love”
I. Leo Bridle and Ben Thomas were the film makers.
a. I believe they are in their late 20s and early 30s, and they graduated from the Arts Institute at Bournemouth.
b. From the United Kingdom.
II. The basic structure of the artwork is Film.
a. Material used was digital compositing software and all the animations were done by hand and not the compositing software.
b. The subject of the seemed to be the young artist and he seemed to have been in search of someone. Everything seemed to be between and a gray/sepia scale with a design using cut outs and wooden toys.
III. I think this whole film was based on love.
a. My 1st idea is that he is trying to find the woman he loved. He may have seen her before at the station and drawn her out of memory and may have come back to find her there. When he didn’t, he hopped on the train in search for her only to come up empty. I believe he used his drawing pad as some sort of map as to where she may have been. When he doesn’t find her, he returns to the station once again and this time, he finds her. He then realizes that she may be an artist as well and may have gone through the same processes to find each other.
b. My 2nd idea is that he may have drawn her as well as the other drawings in his book subconsciously and realized this was a woman he had to meet. He then returns to the train station, which is the setting of his drawing. When she doesn’t come, he hops on the train and then goes in search for the woman that he loves. When he doesn’t find her he returns back to the station and that is where he finally sees her. They go towards each other and hold hands, seeming like they both went through the same measures to find each other.
I think the way the film makers used photography and film made this a very interesting form of media. Everything looked cartooned and real at the same time. The train station and the train themselves looked like they were made out of wooden toys and the people all looked like cut outs that were animated to look like they were moving, inside of their cut out frames. This was a well done film and they filmmakers did a wonderful job. I must say it sure caught my attention.
Linda Hoffman-Ostroff
Techniques, Materials, and Form
Introduction to the Drinking Maiden Exhibition
Story Style
"A Maiden in Born"
My color is milky white and thus a maiden is born... I was created by the great sculptural artist Ernst Wenck in 1901. He created my soft white body by using his strong meticulous hands. He is indeed an artist. I was created in a time when conservatism was not very popular. Because of my intricate detail and the delicate image I carry I became a model for porcelain miniatures.
If you study my structure you see the qualities that may have lead to my continued popularity. I lean forward and you see the muscle tone of my leg by the light tha ...
ARE 494 Digital Ethnography MichaelmichaelmotorcycleMichael Gipson
I am a student at Arizona State University and this is my final project for ARE 494 Digital Ethnography. It is a class that examines digital culture in the virtual world of Second Life. It was an amazing and unique experience.
Digital approaches for the arts - 2013 - Unthinkable ConsultingJustinSpooner
A set of slides from my talk for IT4Arts in February 2013. The focus of the talk was to look at a range of digital approaches that organisations and artists have used over the last few years and consider how we might apply the lessons learnt to our future activity. I have included some speaker's as part of the slides so that it makes more sense a stand-alone piece of content.
Justin Spooner - Director - Unthinkable Consulting
What if you could see through the walls of every museum and something could t...Chris Thorpe
A talk I was asked to give at Culture Hackday in London, talking about the thinking that's been going on in the latest project I'm a part of; Artfinder.
PROJECT #7 – street artGoal Street art is the newest and mos.docxwkyra78
PROJECT #7 – street art
Goal:
Street art is the newest and most exciting segment of the contemporary art world. This assignment will allow you to create your own street art persona.
Assignment:
We’ve just viewed Banksy’s Exit Through The Gift Shop and have been introduced to street artists such as, Shepard Fairey, Mr. Brainwash, Monsieur André, and Space Invader. Now it is time to create your own street art persona.
1) Give yourself a name, such as when Thierry Guetta became “Mr Brainwash”
2) Define your goals and intentions as a street artist
3) What message does your work contain?
4) Where is your street art going to be placed so people will see it?
5) What medium are you going to use? What size is it ideally going to be?
Develop your ideas and write an essay explaining the five bullet points above.
Create a work of street art! ON PAPER! Attach it to your essay.
Essay Format:
· Upper left hand corner of the paper should have (single-spaced)
Your Name
Days and Time of Class
Project Number
· Skip two lines and begin your paper…do not give your paper a title
· One-Page (20-23 lines of text)
· Typed
· Double Spaced (Format—>Paragraph—>Spacing—>Double—>Click OK)
· 1” Margins (Format—>Document—>Change Margins—>Click OK)
· 10-point font
· Don’t forget to proofread your paper! Grammar does count!
Art Format:
· Complete your work on a standard 8.5” x 11” sheet of paper. Do not deviate from this.
· The medium is up to you, but pencil is preferred
· You can also create something via computer, but remember YOU have to create it!
· An example is below.
The Packet:
Essay
Attach a sample of your street art
Point Value: 25 points
Due Date: Monday, April 20th.
An “A” Student
Project #5
As the world of street art continues to expand, more new and innovative forms of art are being displayed all around the world – from LA to Paris to New York City and more. When trying to figure out what piece of street art to create myself, it took me awhile before I dedicated myself to a certain image because there were so many ideas running through my head. I chose my primary form of street art to depict a cartoon detective with the word “create” at the bottom of his coat holding a magnifying glass that reveals an inkblot from the Rorschach test. Based on this image, I would call myself “Detective J.”
All-in-all, my street art does not portray a particularly deep or meaningful subject and is not extremely difficult to create, yet I feel that the message I want viewers to receive from this image is still an important one for people to remember. The Rorschach inkblot test is typically used for psychological purposes to determine a person’s personality characteristics and emotional functionality. Personally, I believe it is also a test of the imagination, a method of creation and interaction with each other and with an individual’s personal creative side. As a street artist, my goal is to promote these artistic characteristics – crea ...
More Help With Public Speaking - a follow up presentation to my previous ones; collated from personal experience and info from a number of sites credited on the last slide.
When Science Fiction Becomes Reality: AI In The Digital AgeRichard Adams
Slides accompanying short talk and panel discussion at the Web We Want Festival, 2015, South Bank Centre http://webwewant.southbankcentre.co.uk/whats-on/when-science-fiction-becomes-reality-ai-digital-age-1268
Artistic process and project managementRichard Adams
Slides of a talk I gave to a bunch of PM's covering the outline level; of my thoughts on how PM's can utilise the artistic process to create more value and make their jobs more fun while also changing the business.
A talk on how education is shaped by the society it is in and a look at the type of skills and education needed in the 21st century as the second industrial revolution crushes all in it's path towards the Singularity
Slides from a talk I gave on the re-emergence of the artisan through digital culture, maker culture and connectivity. Also looks at the impacts of this on young workers.
If you want to know more, ask.
Talk given at the Open Data Institute in London on various visions of Data in science fiction. The text based slides contain the text of the talk from the script. Some pictures are clickable to online links.
This is a series of lectures I gave at Birkbeck College - clearly the notes are not extensive but if anyone would like to chat them through then feel free to talk directly to me.
This is a series of lectures I gave at Birkbeck College - clearly the notes are not extensive but if anyone would like to chat them through then feel free to talk directly to me.
This is a series of lectures I gave at Birkbeck College - clearly the notes are not extensive but if anyone would like to chat them through then feel free to talk directly to me.
This is a series of lectures I gave at Birkbeck College - clearly the notes are not extensive but if anyone would like to chat them through then feel free to talk directly to me.
Synthetic Fiber Construction in lab .pptxPavel ( NSTU)
Synthetic fiber production is a fascinating and complex field that blends chemistry, engineering, and environmental science. By understanding these aspects, students can gain a comprehensive view of synthetic fiber production, its impact on society and the environment, and the potential for future innovations. Synthetic fibers play a crucial role in modern society, impacting various aspects of daily life, industry, and the environment. ynthetic fibers are integral to modern life, offering a range of benefits from cost-effectiveness and versatility to innovative applications and performance characteristics. While they pose environmental challenges, ongoing research and development aim to create more sustainable and eco-friendly alternatives. Understanding the importance of synthetic fibers helps in appreciating their role in the economy, industry, and daily life, while also emphasizing the need for sustainable practices and innovation.
Instructions for Submissions thorugh G- Classroom.pptxJheel Barad
This presentation provides a briefing on how to upload submissions and documents in Google Classroom. It was prepared as part of an orientation for new Sainik School in-service teacher trainees. As a training officer, my goal is to ensure that you are comfortable and proficient with this essential tool for managing assignments and fostering student engagement.
June 3, 2024 Anti-Semitism Letter Sent to MIT President Kornbluth and MIT Cor...Levi Shapiro
Letter from the Congress of the United States regarding Anti-Semitism sent June 3rd to MIT President Sally Kornbluth, MIT Corp Chair, Mark Gorenberg
Dear Dr. Kornbluth and Mr. Gorenberg,
The US House of Representatives is deeply concerned by ongoing and pervasive acts of antisemitic
harassment and intimidation at the Massachusetts Institute of Technology (MIT). Failing to act decisively to ensure a safe learning environment for all students would be a grave dereliction of your responsibilities as President of MIT and Chair of the MIT Corporation.
This Congress will not stand idly by and allow an environment hostile to Jewish students to persist. The House believes that your institution is in violation of Title VI of the Civil Rights Act, and the inability or
unwillingness to rectify this violation through action requires accountability.
Postsecondary education is a unique opportunity for students to learn and have their ideas and beliefs challenged. However, universities receiving hundreds of millions of federal funds annually have denied
students that opportunity and have been hijacked to become venues for the promotion of terrorism, antisemitic harassment and intimidation, unlawful encampments, and in some cases, assaults and riots.
The House of Representatives will not countenance the use of federal funds to indoctrinate students into hateful, antisemitic, anti-American supporters of terrorism. Investigations into campus antisemitism by the Committee on Education and the Workforce and the Committee on Ways and Means have been expanded into a Congress-wide probe across all relevant jurisdictions to address this national crisis. The undersigned Committees will conduct oversight into the use of federal funds at MIT and its learning environment under authorities granted to each Committee.
• The Committee on Education and the Workforce has been investigating your institution since December 7, 2023. The Committee has broad jurisdiction over postsecondary education, including its compliance with Title VI of the Civil Rights Act, campus safety concerns over disruptions to the learning environment, and the awarding of federal student aid under the Higher Education Act.
• The Committee on Oversight and Accountability is investigating the sources of funding and other support flowing to groups espousing pro-Hamas propaganda and engaged in antisemitic harassment and intimidation of students. The Committee on Oversight and Accountability is the principal oversight committee of the US House of Representatives and has broad authority to investigate “any matter” at “any time” under House Rule X.
• The Committee on Ways and Means has been investigating several universities since November 15, 2023, when the Committee held a hearing entitled From Ivory Towers to Dark Corners: Investigating the Nexus Between Antisemitism, Tax-Exempt Universities, and Terror Financing. The Committee followed the hearing with letters to those institutions on January 10, 202
Operation “Blue Star” is the only event in the history of Independent India where the state went into war with its own people. Even after about 40 years it is not clear if it was culmination of states anger over people of the region, a political game of power or start of dictatorial chapter in the democratic setup.
The people of Punjab felt alienated from main stream due to denial of their just demands during a long democratic struggle since independence. As it happen all over the word, it led to militant struggle with great loss of lives of military, police and civilian personnel. Killing of Indira Gandhi and massacre of innocent Sikhs in Delhi and other India cities was also associated with this movement.
Welcome to TechSoup New Member Orientation and Q&A (May 2024).pdfTechSoup
In this webinar you will learn how your organization can access TechSoup's wide variety of product discount and donation programs. From hardware to software, we'll give you a tour of the tools available to help your nonprofit with productivity, collaboration, financial management, donor tracking, security, and more.
Biological screening of herbal drugs: Introduction and Need for
Phyto-Pharmacological Screening, New Strategies for evaluating
Natural Products, In vitro evaluation techniques for Antioxidants, Antimicrobial and Anticancer drugs. In vivo evaluation techniques
for Anti-inflammatory, Antiulcer, Anticancer, Wound healing, Antidiabetic, Hepatoprotective, Cardio protective, Diuretics and
Antifertility, Toxicity studies as per OECD guidelines
A Strategic Approach: GenAI in EducationPeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
The French Revolution, which began in 1789, was a period of radical social and political upheaval in France. It marked the decline of absolute monarchies, the rise of secular and democratic republics, and the eventual rise of Napoleon Bonaparte. This revolutionary period is crucial in understanding the transition from feudalism to modernity in Europe.
For more information, visit-www.vavaclasses.com
7. @dickyadams
'Oscillon 520', by Ben Laposky, US, 1960. Museum
no. E.1096-2008. Given by the American Friends of
the V&A through the generosity of Patric Prince
John Lansdown using a Teletype (an electro-mechanical
typewriter), about 1969-1970. Courtesy the estate of
John Lansdown
Frieder Nake, 'Hommage à Paul Klee 13/9/65 Nr.2',
1965. Museum no. E.951-2008. Given by the American
Friends of the V&A through the generosity of Patric
Prince
Paul Brown, 'Untitled Computer Assisted Drawing', 1975.
Museum no. E.961-2008. Given by the American Friends
of the V&A through the generosity of Patric Prince
Kenneth Snelson, 'Forest Devils' MoonNight' (detail),
1989, Museum no. E.1046-2008. Given by the American
Friends of the V&A through the generosity of Patric
Prince
James Faure Walker, 'Dark Filament' (detail), 2007.
Museum no. E.147-2009. Given by James Faure Walker
http://www.vam.ac.uk/content/articles/a/computer-art-history/
18. @dickyadams
The key defining attitude to the digitalisation
of art must be curiosity.
The chief attribute of craft must be
interdisciplinary and collaborative (science,
culture, tech, biology, whatever).
The output must be defined by the intent not
the technology.
20. @dickyadams
Making data, tech
and connectivity
move people
Enabling people to feel
what it is like to
experience something
Connecting
people with
other people
Understanding
machine
aesthetics
Working out how Art can
exist in a era of unnatural
intelligence
Making galleries
irrelevant
23. @dickyadams
This is my journey it’s all opinion here and nothing is certain or fact. I started doing art and I will end doing art. I can’t stop making things. But
along the way I have been lucky enough to be offered opportunities to work at amazing companies with amazing people across sectors. I did
the usual foundation, degree and PGCE route that most fine art graduates did. But then at the turn of the 90’s I started using computers for
creative work – Archimedes as it happens. Then I did one of the first AutoCAD draughtsman courses after which I went to do what at the time
was the only MA in the UK for artists that wanted to work with computers, at Middlesex. The fact that I worked with creating software for
creative outputs meant that upon leaving I was approached to work at fledgling interactive TV company – one of two in the UK and we did….
This type of stuff….there was no web to look at, no previous examples to speak of and very very nascent technology so in a very real sense it
was like the Wild West. Looking back it was the hard intellectual skills from my art education that helped. The notion of testing and iterating is
actually something fine artists have done for centuries. But of course this wasn't “art” but in 1995 I found myself making Emmerdale Farm
interactive.
Since then I have had a fantastic set of roles and worked for and with some amazing companies culminating with my current contract at the
RSC. In writing this I realise that its this eclectic mix of things that has helped me to keep developing. By using my art and intellectual skills in
different ways I have had my beliefs and practices tested and stretched in some of the most demanding environments.
Picasso famously said that “Computers are useless. They can only give you answers.” It’s interesting that in the intervening years computing
has become so embedded and part of the fabric of everyday life that we might be tempted to disregard this as being anachronistic. But there
is a truth at its heart that is still there. Artists ask questions, that's what we do, in a very real sense we don’t want answers. When I walk into a
gallery and see a series of paintings, I see each one as a set of questions in the artists progress, not a set of complete answers as most of the
public do. What is interesting is that most of the computer art I have seen and been involved with is precisely not about answers and is about
questions. It never was, just the same as any other great art. Those who let the tech guide them are craftspeople not artists – there is nothing
wrong with that in any way but we do need to reclaim the word Art, which is overused.
As you look at the history of computer art you see that ideas from the 60’s 70’s 80’s and 90’s are still prevalent in lots of today’s work and I
sometimes wonder if enough history is being taught as I constantly see the same things repeated but dressed up slightly different. I worry
that here we are with a potentially totally new way of doing things but we seem doomed to repeat the same experiments.
As you get closer to the present we start to see more integration of different media. A less “modernist purist” approach and a more
interdisciplinary one is now the norm. The old notion of being a painter or a sculptor are the things that are disappearing, the art is gradually
becoming computerised. I have never known as many polymaths as there are now. In terms of the work itself, I think we are moving into a
much more sensory based art era that uses inputs from all sorts of sources, processes them and then produces and output in whatever form
is relevant to communicate the intent. Which in itself is an old philosophical concept… The Trivium
One way I tend to explain some of the changes to students and at talks with fewer creative people is to try and look at the base problem – this
is one example … and in a way this is how I still approach everything. I utilise the medium to gain insight and to communicate. To move or to
excite, or provoke sorrow … and not just sorrow at how bad my art is…. Ho ho ho
So I started life as painter, you can see two here. Pretty standard art school product but in the early 90’s I got the urge to use computers so I
took an AutoCAD course and qualified as an AutoCAD draughtsman, found the one MA at the time that expressly took artists and got them to
use computers at a low level. And produced this Cubist Portrait machine.
This was an attempt to add extra dimensions to analytical Cubism. I notice someone unveiled something similar recently, it took them 23
years to catch up. This was everything I thought about art at the time distilled into one piece of software. It aspired to be formal and explore
the language of art as a product of what the technology could support and enable – and that’s the key phrase, support and enable not what
the technology could do. This wasn’t me using technology to produce something, this was me programming the machine to do what I wanted.
So what is “Art” in the digital age? Stupid question as every generation asks the same... maybe. But what might be the defining features
More recently I like everyone else have played with apps and things to produce images. I noticed recently what seems like 4 million iterations
of one image produced through Prisma and shared on social media. I don’t think that this is Art with a capital A. That is image making. If you
look at these I made, I quite like them as images but I am not sure they are Art as they aren’t me extending the formal language through my
own efforts, they are me playing with the formal elements within limits set by someone else. Is that Art? I don’t know…
I am also not sure whether these mixed media iPad paintings are computer art but they are Art.
These photographs are. The digital darkroom techniques have been used to specifically enhance what I saw. So, what are the key rules I work
by?
At the moment I am writing music and creating hackable play. If you listen to album vs album 2 I would say that #1 is the sound of me learning
software and that album #2 is me creating sounds that are more musical and in which I am making the tech do what I want it to. To me that is
a key difference between being an Artist and a Craftsperson.
The key defining attitude to the digitalisation of art must be curiosity. There are many many more open ended ways of communicating now…
The chief attribute of craft must be interdisciplinary and collaborative. I used to do programming for art – I would more likely work with a
collaborator now due to increasing complexity
The output must be defined by the intent not the technology. No amount of filters will make your art mean anything and no amount of
programming and clever tech will make something that moves people….
As I said, I love craft but technology led art is craft, intent, emotion and communication led art is Art with a capital A
On my personal journey I have tried to work out what mix of things makes up my best work and I think its something like this…
• Making data, tech and connectivity move people
• Enabling people to feel what it is like to experience something
• Connecting people with other people
• Understanding machine aesthetics
• Working out how Art can exist in an era of unnatural intelligence
• Making galleries irrelevant
• And in terms of skills….
“Others have seen what is and asked why. I have seen what could be and asked why not.”
Script (roughly)
This is my journey its all opinion here and nothing is certain or fact. I started doing art and I will end doing art. I cant stop making things. But along the way I have been lucky enough to be offered opportunities to work at amazing companies with amazing people across sectors. I did the usual foundation, degree and PGCE route that most fine art graduates did. But then at the turn of the 90’s I started using computers for creative work – Archimedes as it happens. Then I did one of the first AutoCAD draughtsman courses after which I went to do what at the time was the only MA in the UK for artists that wanted to work with computers, at Middlesex. The fact that I worked with creating software for creative outputs meant that upon leaving I was approached to work at fledgling interactive TV company – one of two in the UK and we did….
This type of stuff….there was no web to look at, no previous examples to speak of and very very nascent technology so in a very real sense it was like the wild west. Looking back it was the hard intellectual skills from my art education that helped. The notion of testing and iterating is actually something fine artists have done for centuries. But of course this wasn't “art” but in 1995 I found my self making Emmerdale Farm interactive.
Since then I have had a fantastic set of roles and worked for and with some amazing companies culminating with my current contract at the RSC. In writing this I realise that its this eclectic mix of things that has helped me to keep developing. By using my art and intellectual skills in different ways I have had my beliefs and practices tested and stretched in some of the most demanding environments.
Picasso famously said that “Computers are useless. They can only give you answers.” It’s interesting that in the intervening years computing has become so embedded and part of the fabric of everyday life that we might be tempted to disregard this as being anachronistic. But there is a truth at its heart that is still there. Artists ask questions, that's what we do, in a very real sense we don’t want answers. When I walk into a gallery and see a series of paintings, I see each one as a set of questions in the artists progress, not a set of complete answers as most of the public do. What is interesting is that most of the computer art I have seen and been involved with is precisely not about answers and is about questions. It never was, just the same as any other great art. Those who let the tech guide them are craftspeople not artists – there is nothing wrong with that in wny way but we do need to reclaim the word Art, which is overused.
As you look at the history of computer art you see that ideas from the 60’s 70’s 80’s and 90’s are still prevalent in lots of today’s work and I sometimes wonder if enough history is being taught as I constantly see the same things repeated but dressed up slightly different. I worry that here we are with a potentially totally new way of doing things but we seem doomed to repeat the same experiments.
As you get closer to the present we start to see more integration of different media. A less “modernist purist” approach and a more interdisciplinary one is now the norm. The old notion of being a painter or a sculptor are the things that are disappearing, the art is gradually becoming computerised. I have never known as many polymaths as there are now. In terms of the work itself, I think we are moving into a much more sensory based art era that uses inputs from all sorts of sources, processes them and then produces and output in whatever form is relevant to communicate the intent. Which in itself is an old philosophical concept… The Trivium
One way I tend to explain some of the changes to students and at talks with fewer creative people is to try and look at the base problem – this is one example … and in a way this is how I still approach everything. I utilise the medium to gain insight and to communicate. To move or to excite, or provoke sorrow … and not just sorrow at how bad my art is…. Ho ho ho
So I started life as painter, you can see two here. Pretty standard art school product but in the early 90’s I got the urge to use computers so I took an AutoCAD course and qualified as an AutoCAD draughtsman, found the one MA at the time that expressly took artists and got them to use computers at a low level. And produced this Cubist Portrait machine.
This was an attempt to add extra dimensions to analytical Cubism. I notice someone unveiled something similar recently, it took them 23 years to catch up. This was everything I thought about art at the time distilled into one piece of software. It aspired to be formal and explore the language of art as a product of what the technology could support and enable – and that’s the key phrase, support and enable not what the technology could do. This wasn’t me using technology to produce something, this was me programming the machine to do what I wanted.
So what is “Art” in the digital age? Stupid question as every generation asks the same... maybe. But what might be the defining features
More recently I like everyone else have played with apps and things to produce images. I noticed recently what seems like 4 million iterations of one image produced through Prisma and shared on social media. I don’t think that this is Art with a capital A. That is image making. If you look at these I made, I quite like them as images but I am not sure they are Art as they aren’t me extending the formal language through my own efforts, they are me playing with the formal elements within limits set by someone else. Is that Art? I don’t know…
I am also not sure whether these mixed media iPad paintings are computer art but they are Art.
These photographs are. The digital darkroom techniques have been used to specifically enhance what I saw. So, what are the key rules I work by?
The key defining attitude to the digitalisation of art must be curiosity. There are many many more open ended ways of communicating now…
The chief attribute of craft must be interdisciplinary and collaborative. I used to do programming for art – I would more likely work with a collaborator now due to increasing complexity
The output must be defined by the intent not the technology. No amount of filters will make your art mean anything and no amount of programming and clever tech will make something that moves people….
As I said, I love craft but technology led art is craft, intent, emotion and communication led art is Art with a capital A
On my personal journey I have tried to work out what mix of things makes up my best work and I think its something like this…
Making data, tech and connectivity move people
Enabling people to feel what it is like to experience something
Connecting people with other people
Understanding machine aesthetics
Working out how Art can exist in a era of unnatural intelligence
Making galleries irrelevant