Selected Courses on Digital Art-UOWM

13 Απριλίου 2013

Filed under: Notes — admin @ 17:31
he Future: Then and Now

Wednesday 24th April 2013
6.30pm-9.00pm

This month’s Cybersalon is looking at how new media have inspired new forms of activism over the past two decades and will explore the transformative possibilities of the next wave of technological innovation. 

In his 1996 ‘Declaration of Independence of Cyberspace’, John Perry Barlow announced the coming of a hi-tech utopia where rugged individualists would escape from the stifling controls and onerous taxes of national governments into a borderless and deregulated virtual world. Over the past two decades, this seductive mix of hippie and entrepreneurial libertarianism codified in the Californian Ideology has dominated our understanding of the political impact of the Net. Left or Right, mainstream and alternative, mass connectivity is still celebrated as the technological antidote to the multiple failings of Westminster politics from voter apathy to out-of-touch MPs. While deep scepticism is required about the predictions of dotcom boosters, no one can deny that the rapid diffusion of social media has enabled much more participatory forms of campaigning, organising and mobilising. From the Arab Spring to the Five Star Movement in Italy, citizens have bypassed the old party structures to create their own autonomous groups. As in Athens, Madrid or New York, London’s anti-austerity protesters are tech-savvy and always on-line. In Bitcoin, hackers now believe that they have discovered a way of liberating money from the clutches of the power elite. The Net is still only a toddler, but it has already established itself as the people’s forum for political debate and decision-making. With the status-quo seemingly no longer viable, the collaborative experience of social media should now inspire an emancipatory vision of what it means to be a citizen in 21st century Europe. What are the lessons of Then and Now that we can apply confidently when we’re anticipating the future of Net Politics?

Richard Barbrook – Westminster politics lecturer and author of Imaginary Futures – will trace the evolution of dotcom neo-liberalism from the techno-utopian early-1990s to today’s more austere times.
http://www.imaginaryfutures.net

Amir Taaki – former professional gambler turned open source programmer – will explain how Bitcoin challenges the monetary hegemony of both big banks and big government.
https://www.bitcoins.org

Clare Solomon – the ex-president of ULU during the 2010 student protests who now runs the radical Firebox cafe in King’s Cross – will describe how the participatory structure of the Net is inspiring new methods and ideas of political campaigning. 
http://fireboxlondon.net

Jamie Bartlett – the Head of Centre for the Analysis of Social Media at the Demos think-tank – will describe how the electoral success of the Five Star movement in Italy was achieved through the intelligent use of on-line campaigning. 
http://www.demos.co.uk/people/jamiebartlett

Chair

Paolo Gerbaudo teaches at Kings College, University of London and is author of Tweets and the Streets: social media and contemporary activism.
http://www.tweetsandthestreets.org

Tunes: Wildlife Display Team.

See you there!

Entrance is free but please book on http://cybersalon.eventbrite.co.uk/
6.30pm: doors open and drinks
Discussion: 7.00 – 9.00 pm.
Followed by drinks in the pub: The Slaughtered Lamb.

Venue:
The Arts Catalyst,
50-54 Clerkenwell Road,
London EC1M 5PS

Tubes: Old St/ Barbican
Barclays Bikes: Right outside the venue
Arts Catalyst is next to Foxtons on Clerkenwell Road.

Audio recordings, tweet timeline and transcript of the discussion will be available after each event.


About Cybersalon

A monthly meeting of minds on how the Internet is shaping society for artists, entrepreneurs, techies, activists, academics and designers.
— Speakers, discussion, exhibits, presentations and performances — and a cheap bar.

to be continued…

Filed under: Notes — admin @ 16:15

*Ακόμα ένα δείγμα, δυστυχώς δημιουργούνται προβλήματα στο stiching τα οποία οφείλονται σε έλλειψη εξοπλισμού. . . ετοιμάζω μερικά ακόμα.

Δεν έχω καταφέρει να χρησιμοποιήσω κάποιο μέσα στο software (3ds max) να δω τι αποτελέσματα δίνει. Έχω δοκιμάσει δηλαδή αλλά δεν έχω καταφέρει να βγάλω κάποιο ρέντερ για διάφορους λόγους.  Οι δοκιμές που έκανα είναι ακόμα σε πειραματικό επίπεδο και δεν είμαι σίγουρος αν στα τελικά αρχεία μου περιλαμβάνεται όλη η πληροφορία των exposures (τα οποία αρχεία χρησιμοποιούν temporary χώρο περίπου 30 GB για να δημιουργηθούν) με τελικό μέγεθος του hdr που πρέπει να χρησιμοποιηθεί μέσα στο software περί τα 1 έως 4 GB νούμερο κάπως υπερβολικό να αντέξει το σύστημα μου αυτή τη στιγμή συν το ότι κάθε φορά που ρεντάρω ένα hdri στο πρόγραμμα που ενώνει τις φωτογραφίες φορτώνω συνήθως 11 GΒ ram με αποτέλεσμα πολλές φορές τα γνωστά BSOD (blue screen of death η αλλιώς μπλε οθόνη η αλλιώς κρασαρίσματα όλου του συστήματος)

Έπεται συνέχεια.
Υ.Γ ζητώ συγνώμη για την πολυήμερη απουσία μου και θα επανορθώσω

the 2dfield/sem 6 Animation II 2d -3d

Filed under: Notes — admin @ 15:49


the 2D Field: Area

Screen Space: fixed borders that defines the new aesthetic characteristics
-the screen based experience and the projection based experience 
• Aspect ratio: relationship of screen width to screen height

• Horizontal orientation

• Standard ratios

• Standard TV / computer screens adopted 4×3 ratio of early motion
pictures (1.33:1 ratio)

•Digital/HDTV16x9(5.33x3or178:1)                                                                                                                                                                       

• Standard wide screen of motion pictures (5.33×3 or 1.85:1)

• Panavision / Cinemascope has extremely wide aspect ratio – 7×3
(2.35:1)

• Wide-screen – format of most U.S. films

• Framing

• 4×3 frame (film standard was established as early as 1889)
• advantage is that the difference between screen width & height
does not emphasize one dimension over another
• works well with close-ups

• 16×9 frame
• have to pay more attention to the peripheral pictorial elements/events    
                       
• Changing the Aspect Ratio

• Matching aspect ratio

• Letterboxing: wide screen letterbox is created by showing the whole
width & height of the original format, and masking the top and
bottom of the screen with black, white, or colored bands called
dead zones


• Pillarboxing: fitting a standard 4×3 image onto a 16×9 screen
(vertical pillar bars)

• Cutting, stretching, squeezing

• Secondary Frames


• Masking – blacking out both sides of the screen (ex. D.W. Griffith –
Intolerance)


• Multiple screens

• Moving camera

• Object size > context

• Knowledge of object

• Relation to screen area

• Environment & scale

• Reference to a person

• Image size

• Size constancy – we perceive people and their environments as
normal sized regardless of screen size

• Image size & relative energy

• Power of image is related to screen size & format

• People & things


Chapter 7 – The 2D Field: Forces within the Screen

Main directions

• Horizontal (ex. Renaissance architecture)

• Vertical (ex. Gothic Cathedrals)

• Horizontal/Vertical combination

• Tilting the horizontal plane

• Level horizon: stability

• Tilted horizon: dynamism

• Tilted horizon: stress


Magnetism of the Frame
• Top edge (ex. Headroom)

• Sides (ex. Positive /negative pull)

• Corners

• Centered object: even pull (ex. pull of entire frame)

• Large disc: expansion (ex. attraction of mass)

• Small disc: compression


Asymmetry of the Frame

• Up/Down diagonals

• Screen left/right asymmetry

• Tend to pay more attention to the right side than the left

• Figure & Ground

• Characteristics

• Figure is “thing like” – you perceive it as an object

• The line that separates the figure from the ground belongs to the
figure not the ground

• The figure is less stable than the ground

• The ground seems to continue behind the figure

• Superimposition – ambiguous figure/ground relationship

• Figure/Ground reversal
Psychological Closure: tendency to mentally fill in gaps in visual information to
arrive at complete & easily manageable patterns & configurations

• Gestalt – pattern that results from applying psychological closure (whole that
is larger than the psychological sum of its parts)

• Example 3 notes played together become a chord

• High & Low definition images: high definition images has more information
than a low definition image

• High – HDTV/film

• Low – standard TV

• Requires constant psychological closure

• Facilitating Closure – low definition image is helpful only if it facilitates,
rather than inhibits, closure

• Proximity – when similar elements lie in close proximity to one
another we tend to see them together

• Similarity – similar shapes are seen together

• Continuity – once a dominant line is established its direction is not
easily disturbed by other lines cutting across it

Vectors – directional forces that lend our eyes from one point to another (force
with direction & magnitude)

• Vector Field – combination of vectors operating within a single picture field;
picture field to picture field; picture sequence to picture sequence; screen to
screen; on screen to off screen events

• Vector Types
• Graphic Vector – stationary element that guides our eyes in a certain
direction

• Ambiguous direction

• Index Vector – points in a specific direction

• Vector Magnitude – determined by screen direction, graphic mass, perceived
object speed

• Z-axis vector: points toward or away from the camera

• The larger the graphic mass in motion, the higher its vector magnitude

• The faster the speed of an object the higher its vector magnitude

• Vector Directions

• Continuing Vectors – point in the same direction

• Converging Vectors – point toward each other

• Diverging Vectors – point away from each other



Structuring the 2D Field: Interplay of Screen Forces

Stabilizing the Field Through Distribution of Graphic Mass & Magnetic Force

• Graphic Weight

• Dimension

• Shape

• Orientation

• Location

• Color

• Hue

• Saturation

• Brightness

• Screen Center – most stable position of an object

• Off Center – the more the object moves off center the greater its
graphic weight and the attraction of the frame increases

• Counter weighting – achieve balance with another object of similar
graphic weight

Stabilizing the Field Through Distribution of Vectors

• Structural Force of Index Vectors

• Nose room & Lead room – need to leave enough room otherwise it will feel
cramped

• Nose room for index vectors

• Lead room for motion vectors

• Converging Vectors – can balance an index vector with a converging one
within the same screen

• Graphic Vectors – can use mass to contain other graphic vectors
Stages of Balance

• Stabile Balance – symmetrical structuring of visual elements

• Neutral Balance – graphic elements are asymmetrically distributed

• Golden Section – division of the screen into roughly 3×5 units

• Rule of Thirds – divide screen into 3 horizontal and 3 vertical fields

• Modular Units – adapted golden section proportions into a modular
concept

• Labile Balance – distribution of graphic weight, frame magnetism, and
vectors are pushed to their structural limit, creating a tendency for
imbalance (high tension)

Object Framing

• Facilitating closure – organize structures into easily recognizable patterns

• Graphic Cues – facilitate psychological closure by arranging the vector field
within the screen area so that all the vectors extend easily beyond the screen
into the off screen space

• Premature Closure – improper framing can lead to early psychological closure

• Natural Dividing Lines –premature closure when framing at natural dividing
lines

• Illogical Closure – tendency to group objects together into patterns regardless
of whether they belong together
The Aesthetic Edge Unusual Compositions – breaking compositional rules for
emphasis

• Emphasis through off-center placement

• Emphasis through partial onscreen placement
Multiple Screens

• Increased information

12 Απριλίου 2013

Filed under: Notes — admin @ 13:07

14 November 2008 – 17 January 2009
William_Anastasi.jpg
© William Anastasi
Untitled, 1966/2008
Photo-screenprint on canvas
78 x 235 inches (198 x 597 cm)
 
WILLIAM ANASTASI

November 14 2008 – January 17 2009
Opening: Friday, November 14, 2008, 6-8pm

Location: Peter Blum Chelsea

Peter Blum is pleased to announce the exhibition William Anastasi: opposites are identical, opening on November 14th, 2008 at Peter Blum Chelsea, 526 West 29th Street. This will be Anastasi’s first exhibition with the Peter Blum Gallery.
opposites are identical brings together works from four decades, with the earliest work dating back to the early 1960s and the latest from the year 2000. One of the first practitioners of Minimal and Conceptual art, Anastasi, throughout his career, has questioned the structure of cognition and perception, often probing the edges of traditional art practices. Despite creating a number of works that anticipate many of the key artistic themes of Minimal and Conceptual art, Anastasi has been relatively overlooked by the art historical canon. As a keen observer and close friend of John Cage, Merce Cunningham, Jasper Johns and Robert Rauschenberg, Anastasi developed a distinctive practice that combines a Duchampian sense of play with the analytic rigor of Conceptualism.
A central trope in Anastasi’s art is the relationship between the object and its context. Frequently, the gallery itself becomes the frame for this exploration. For example, Untitled (1966-2008) is a new interpretation of a piece originally shown in Anastasi’s “Six Sites” exhibition at Virginia Dwan Gallery, New York, in 1967. The photo-silkscreen on canvas pictures exactly the gallery wall on which it is hung—that is a full fifty percent of the size of the wall itself (the 1967 version was ninety percent of the wall size). This piece is one of many examples of where Anastasi investigates the tension between presence and representation.
Anastasi has consistently introduced chance and randomness into his works. In an attempt to yield control of his creative process, he executed graphite on canvas drawings with his eyes closed. These pieces demonstrate how in Anastasi’s art the ideas always generate the choice of medium.
William Anastasi was born in 1933 in Philadelphia, PA. His first exhibition in New York was in 1964 at the Washington Square Gallery, followed by four shows at the Virginia Dwan Gallery (1966, 1967, two in 1970). Important solo exhibitions include: P.S.1, New York (1977), Kunstmuseum Düsseldorf, Germany (1979), Whitney Museum, New York (1979 and 1981), The Philadelphia Museum of Art, Philadelphia, PA (1993), two retrospectives: Moore College of Art and Design, Philadelphia, PA (1995), and Nikolaj – Copenhagen Contemporary Art Center (2001). Selected public collections: Museum of Modern Art, New York; The Metropolitan Museum, New York; The Jewish Museum, New York; Philadelphia Museum of Art, Philadelphia, PA; The Walker Art Center, Minneapolis, MN; Museum of Contemporary Art, Los Angeles.

arch-archiving-archives-papers-

Filed under: Notes — admin @ 11:22

παρουσίαση έργων-καλλιτεχνών από ars electronica

Filed under: Notes — admin @ 04:02

algorithmic search for love
interactive art, honorary mention 2011

Ο Julian palacz έφτιαξε μια μηχανή αναζήτησης  λέξεων/φράσεων για το προσωπικό αρχείο ταινιών του.             γράφοντας την λέξη ή φράση στην μηχανή αναζήτησης  ξεκινά μια αναπαραγωγή των στιγμιότυπων που βρίσκονται οι λέξεις κλειδιά στις ταινίες. το έργο είναι ένα σχόλιο για την ψηφιακή εποχή και τη ευκολία που μας παρέχουν τα μέσα της στην δημιουργία προσωπικών ψηφιακών αρχείων-αποκτημάτων.



http://archive.aec.at/prix/#41175





empathetic heartbeat
Interactive Art, 2011

 οι Hideyuki Ando, Masahiko Sato, Junji Watanabe δημιούργησαν μια εγκατάσταση για να τονίσουν την σημαντικότητα της συναισθηματικής ταύτισης μεταξύ των ανθρώπων. οι χτύποι της καρδιάς μας φανερώνουν με έναν τρόπο την συναισθηματική μας κατάσταση όμως παραμένουν “ιδιωτικοί”/κρυφοί, πολλές φορές και για τον ίδιο τον εαυτό. Ο συμμετέχων στο έργο κάθεται στην “θέση” μπροστά από την οθόνη και τοποθετεί το στηθοσκόπιο στο στήθος του. από τα ακουστικά μπορεί να ακούσει τις εναλλαγές των παλμών της καρδιάς ανάλογα με το οπτικό ερέθισμα  που λαμβάνει από την οθόνη.

Gerhard Richter-archieves-presentaion-artists/sem 8- archives-painting-objects

Filed under: ΚΑΛΛΙΤΕΧΝΕΣ-ARTISTS — admin @ 02:51
http://www.gerhard-richter.com/

11 Απριλίου 2013

dream-real-virtual-surealism-diagramsspectacle

Filed under: Notes — admin @ 05:41

time history table-diagram-(etc tate)
real-virtual-spectacle-ethics-social networks

παράλογο (dods-ζωγρ)-ανδουλουσιανός σκύλος -youtube social networks –
massive culture&youtube

[youtube http://www.youtube.com/watch?v=BDMShZTdh20]

http://www.porterfieldsfineart.com/tableofcontents.htm

Filed under: Notes — admin @ 04:30

Porterfield’s Fine Art Licensing
   Welcome to the leading art licensing agency on the internet.  Porterfield’s is one of America’s top commercial international art licensing agencies.  We’re adding lovely new art to this site just about every week, so please be sure to stop by frequently to see what’s new.
   All of the 3,500+ images shown in these pages are available for licensing.   If you come across something you like and can use, let us know; we’ll be happy to send you digital files or lovely color contact sheets of any artist’s work.  You can call us at any time at (941) 487-8581 or email Porterfield’s.
   As you go through the site, please note that each artist has a main page which in most cases shows a single image from each of often many collections.  Just click on the collection image or title to go to the main page for that collection.  If you would like to see any image larger, just click on the image itself.  You can also use our new in-site search engine, courtesy of Google, to find specific topics that you may be seeking.

Meet our Artists

A very brief look at a representative image from each Porterfield’s artist, with each artist shown alphabetically by last name.
Please click on image or name to go to that artist’s full portfolio of images:

 

Dominy AldermanFOLLOW YOUR HEART, DREAM YOUR DREAMS,
LOVE AND LAUGH
Sharon AscherlOLD-FASHIONED COUNTRY
AMERICANA LANDSCAPES
Marilyn BarkhouseOLD-FASHIONED COUNTRY
AMERICANA LANDSCAPES
Jamie CarterCHRISTMAS, SEASONS, HOLIDAYS, FLORALS & LOVELY LANDSCAPES

Dawn CollinsICE CREAM SOCIALS, FLOWERS AND DREAMS, SUMMER BLESSINGS, COFFEE, AND INSPIRATIONS Richard De WolfeCHRISTMAS, SNOWMEN, FARMS, SEASONAL, AND WILDLIFE Caplyn DorENTICING AND ROMANTIC LANDSCAPES Jan FordFLORALS, GARDENS,
BASKETS AND BIRDS

Denise FreemanFLORALS, CATS, DOGS,
BUTTERFLIES, HORSES
Christine GrafCONTEMPORARY DECORATIVE, FLORALS,  AMERICANA, FABRIC COLLECTIONS Joseph HolodookSANTA CLAUS, SNOWMEN,  HOLIDAYS, AMERICANA LANDSCAPES, CHRISTMAS, COUNTRY Lin HowardCHRISTMAS, HALLOWEEN,
JUVENILE AND SEASONAL

Larry JacobsenLOVELY AND COMPELLING LANDSCAPES Carol LawsonUPSTAIRS DOWNSTAIRS BEARS, FAIRY TALES, ARTFUL SANTA’S Maureen McCarthyTRADITIONAL AMERICANA,
SEASONAL, COUNTRY
Anne MortimerCATS & KITTENS, CHRISTMAS, FLORALS, EASTER, GARDENS

Sara MullenHOLIDAYS, SEASONS, GARDENS, COFFEE, CATS AND TEDDIES TOO Matt PattersonDECORATIVE WINE, PALMS, WILDLIFE, CLASSIC FISH, OLD-FASHIONED SIGNS  Bob PettesAMERICANA AND CHRISTMAS LANDSCAPES AND THE GRAND TOUR OF EUROPE Diane PhalenCOUNTRY QUILTING, AMERICANA, CHARMING QUILT DESIGNS

Judy Case RedderAMERICANA, LANDSCAPES, COUNTRY LANDSCAPES, INSPIRATIONAL, WALL DECOR Jane Wooster ScottCHARMING AMERICANA LANDSCAPES FROM THE RENOWNED PAINTER OF AMERICAN LIFE Rosiland SolomonHUMMINGBIRDS, ANGELS, ROOSTERS,  DECORATIVE, WINE, TUSCANY, AND  SEASONAL IMAGES Janet SteverCHRISTMAS, SNOWMEN, SEASONAL, HOLIDAY, WINE, FLORALS,
 AND DECORATIVE ART

 

Val StokesCHRISTMAS, NATIVITY, CHARMING FLORALS AND GARDENS,
AND FELINE FRIENDS
Michael SwansonROMANTIC SCENES, LANDSCAPES,
PROVENCE, 
TUSCANY
Edward TadielloSERENITY’S GARDEN, LOVE’S EMBRACE, AND THE ANGELS OF GRACE
Geoffrey TristramTHE  CHARMING “CATS OF DISTINCTION” COLLECTION BY A RENOWNED BRITISH ARTIST

Joy WaldmanBASKETS OF SPRINGTIME, SUMMER AT THE BEACH, ORCHIDS, FLORALS, GARDENS, JUVENILE, BEACH
Gloria WestCHARMING, WHIMSICAL CHRISTMAS ART, SEASONAL ART, INDIAN MAIDENS AND NATIVE HERITAGE
Abby WhiteDECORATIVE ART FOR HOME & WALL DECOR, KITCHEN DECOR AND FABRIC
Cindy WiderCHARMING DECORATIVE, BEACH, TROPICAL, AND CAT ART. NEW TO PORTERFIELD’S FINE ART

 

Thomas WoodBEST FRIENDS COLLECTION, DECORATIVE, COFFEE, CHOCOLATE, HOME DECOR, CHRISTMAS, HALLOWEEN, HOLIDAYS, WINE
 

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Porterfield’s Fine Art Licensing
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See our blog on the Business of Art Licensing at www.art-licensing.bizand Art & Licensing News,
both brought to you by Porterfield’s Fine Art Licensing

For more information on how to license the works of any of Porterfield’s artists,  please contact Lance Klass, President, Porterfield’s Fine Art Licensing, 8437 Tuttle Avenue, Suite 410 Sarasota, Florida 34243, (800) 660-8345, or email us right now.   Please state your specific interest in the art, whether licensing, authorized reproduction, or other potential usage, when contacting us.
     All works of art shown on this site are copyrighted by the respective artist(s) under United States and International Copyright Statutes.  This internet site and all its contents are protected by copyright and may not be reproduced in whole or in part without prior written permission.  Porterfield’s shall vigorously enforce its copyrights and pursue any infringement of those rights.  ALL RIGHTS RESERVED. The name “Porterfield’s” is a registered trademark of Porterfield’s L.L.C..   Privacy Policy.  “All Rights Reserved” Means…

arch-hs-drawing-mapiing pro-actions-pubscul/sem 8 archieves-data classifications//sem 5 object map routes

Filed under: Notes — admin @ 04:13

vimeo video
moma liver
*

creating an archieve of flo.-blog vv
(naming houses-non typical represantations-history-archeology)
architectural archive 7mk/patras
http://mixyears.blogspot.gr/

http://letaeras.tumblr.com/

patras2.nos.v.krs.mal.mrl.al.kn.th.
objects-mapping sch. of arch. u.p.

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