Selected Courses on Digital Art-UOWM

28 Ιανουαρίου 2021

deep learning

23 Ιουνίου 2020


Filed under: NOTES ON DIGITAL IMAGE — Ετικέτες: — admin @ 16:46
1-bit color -The lowest number of colors per pixel in which a graphics file can be stored. In 1-bit color, each pixel is either black or white.
8-bit color/grayscale -In 8-bit color, each pixel is has eight bits assigned to it, providing 256 colors or shades of gray, as in a grayscale image.
24-bit color -In 24-bit color, each pixel has 24 bits assigned to it, representing 16.7 million colors. 8 bits – or one byte – is assigned to each of the red, green,
and blue components of a pixel.
32-bit color – A display resolution setting that is often referred to as true color and offers a color palette of over 4 billion colors or 2^(3)^(2).
Additive Colors – Red, Green, and Blue are referred to as additive colors. Red+Green+Blue=White.
Algorithm -The specific process in a computer program used to solve a particular problem.
Aliasing -An effect caused by sampling an image (or signal) at too low a rate. It makes rapid change (high texture) areas of an image appear as a
slow change in the sample image. Once Aliasing occurs, there is no way to accurately reproduce the original image from the sampled image.
Analog -Analog transmitted data can be represented electronically by a continuous wave form signal. Examples of analog items are traditional photographed
images and phonograph albums.
Anti-Aliasing – The process of reducing stair-stepping by smoothing edges where individual pixels are visible.
Application -A computer software program designed to meet a specific need.
Binary -A coding or counting system with only two symbols or conditions (off/on, zero/one, mark/space, high/low). The binary system is the basis
for storing data in computers.
Bit – A binary digit, a fundamental digital quantity representing either 1 or 0 (on or off).
Bitmap(BMP) -An image made up of dots, or pixels. Refers to a raster image, in which the image consists of rows or pixels rather than vector coordinates.
Channel – One piece of information stored with an image. True color images, for instance, have three channels-red, green and blue.
Chroma – The color of an image element (pixel). Chroma is made up of saturation + hue values, but separate from the luminance value.
CMYK (Cyan, Magenta, Yellow, Black) -One of several color encoding system used by printers for combining primary colors to produce a full-color image. In
CMYK, colors are expressed by the “subtractive primaries” (cyan, magenta, yellow) and black. Black is called “K” or keyline since black, keylined text appears on
this layer.
Compression – The reduction of data to reduce file size for storage. Compression can be “lossy” (such as JPEG) or “lossless” (such as TIFF LZW). Greater
reduction is possible with lossy compression than with lossless schemes.
Continuous Tone – An image where brightness appears consistent and uninterrupted. Each pixel in a continuous tone image file uses at least one byte each for
its red, green, and blue values. This permits 256 density levels per color or more than 16 million mixture colors.
Digital vs. analog information – Digital data are represented by discrete values. Analog information is represented by ranges of values, and is therefore less
precise. For example, you get clearer sound from an audio CD (which is digital) than from an audiocassette (which is analog). Computers use digital data.
Desktop Publishing – Describes the digital process of combining text with visuals and graphics to create brochures, newsletters, logos, electronic slides and
other published work with a computer.
Digital – A system or device in which information is stored or manipulated by on/off impulses, so that each piece of information has an exact or repeatable
value (code).
Digitization – The process of converting analog information into digital format for use by a computer.
Dithering – A method for simulating many colors or shades of gray with only a few. A limited number of same-colored pixels located close together are seen as
a new color.
Download – The transfer of files or other information from one piece of computer equipment to another.
DPI (Dots Per Inch) -The measurement of resolution of a printer or video monitor based on dot density. For example, most laser printers have a resolution of
300 dpi, most monitors 72 dpi, and most PostScript imagesetters 1200 to 2450 dpi. The measurement can also relate to pixels in an input file, or line screen
dots (halftone screen) in a pre-press output film.
Driver – software utility designed to tell a computer how to operate an external device. For instance, to operate a printer or a scanner, a computer
will need a specific driver.
Firewire – A very fast external bus that supports data transfer rates of up to 400 MBPS. Firewire was developed by Apple and falls under the IEEE
1394 standard. Other companies follow the IEEE 1394 but have names such as Lynx and I-link.
FTP (File Transfer Protocol – An abbreviation for File Transfer Protocol and is a universal format for transferring files on the Internet.
GIF File Format – Stands for Graphic Interchange Format, a raster oriented graphic file format developed by CompuServe to allow exchange of
image files across multiple platforms.
Gigabyte (GB) -A measure of computer memory or disk space consisting of about one thousand million bytes (a thousand megabytes). The actual value is
1,073,741,824 bytes (1024 megabytes).
Gray Scale – A term used to describe an image containing shades of gray as well as black and white.
Halftone Image – An image reproduced through a special screen made up of dots of various sizes to simulate shades of gray in a photograph. Typically used for
newspaper or magazine reproduction of images.

Hue -A term used to describe the entire range of colors of the spectrum; hue is the component that determines just what color you are using. In
gradients, when you use a color model in which hue is a component, you can create rainbow effects.
Image Resolution – The number of pixels per unit length of image. For example, pixels per inch, pixels per millimeter, or pixels wide.
Import – The process of bringing data into a document from another computer, program, type of file format, or device.
Jazz Drive – A computer disk drive made by Iomega that enables users to save about 1000 megabytes or 1Gigabyte of information on their special
JPEG (Joint Photographic Experts Group) -A technique for compressing full-color bit-mapped graphics.
Kilobyte – An amount of computer memory, disk space, or document size consisting of approximately one thousand bytes. Actual value is 1024
Lossless compression – Reduces the size of files by creating internal shorthand that rebuilds the data as it originally were before the compression.
Thus, it is said to be non-destructive to image data when used.
Lossy compression – A method of reducing image file size by throwing away unneeded data, causing a slight degradation of image quality. JPEG is a
lossy compression method.
Mask – A defined area used to limit the effect of image-editing operations to certain regions of the image. In an electronic imaging system, masks
are drawn manually (with a stylus or mouse) or created automatically–keyed to specific density levels or hue, saturation and luminance values in the
image. It is similar to photographic lith masking in an enlarger.
Megabyte (MB) – An amount of computer memory consisting of about one million bytes. The actual value is 1,048,576 bytes.
Moire – A visible pattern that occurs when one or more halftone screens are misregistered in a color image. Multimedia – This involves the combination of two
or more media into a single presentation. For example, combining video, audio, photos, graphics and/or animations into a presentation.
Network – A group of computers connected to communicate with each other, share resources and peripherals.
Palette – A thumbnail of all available colors to a computer or devices. The palette allows the user to chose which colors are available for the
computer to display. The more colors the larger the data and the more processing time required to display your images. If the system uses 24-bit
color, then over 16.7 million colors are included in the palette.
Pixel (PICture ELement) -The smallest element of a digitized image. Also, one of the tiny points of light that make up a picture on a computer screen.
PNG (Portable Network Graphics) – pronounced ping. A new standard that has been approved by the World Wide Web consortium to replace GIF because
GIF uses a patented data compression algorithm. PNG is completely patent and license-free.
PostScript – A page description language developed by Adobe Systems, Inc. to control precisely how and where shapes and type will appear on a page.
Software and hardware may be described as being PostScript compatible.
RAM – Random Access Memory. The most common type of computer memory; where the CPU stores software, programs, and data currently being used.
RAM is usually volatile memory, meaning that when the computer is turned off, crashes, or loses power, the contents of the memory are lost. A large amount
of RAM usually offers faster manipulation or faster background processing.
Raster – Raster images are made up of individual dots; each of which have a defined value that precisely identifies its specific color, size and place within the
image. (Also known as bitmapped images.)
Render – The final step of an image transformation or three-dimensional scene through which a new image is refreshed on the screen.
Resize – To alter the resolution or the horizontal or vertical size of an image. Resolution – The number of pixels per unit length of image. For example, pixels per
inch, pixels per millimeter, or pixels wide.
RGB – Short for Red, Green, and Blue; the primary colors used to simulate natural color on computer monitors and television sets. Saturation – The degree to
which a color is undiluted by white light. If a color is 100 percent saturated, it contains no white light. If a color has no saturation, it is a shade of gray.
Software – Written coded commands that tell the computer what tasks to perform. For example, Word, PhotoShop, Picture Easy, and PhotoDeluxe
are software programs
Subtractive colors – Transparent colors that can be combined to produce a full range of color. Subtractive colors subtract or absorb elements of
light to produce other colors.
TIFF (Tagged Image File Format) -The standard file format for high-resolution bit-mapped graphics. TIFF files have cross-platform compatibility.
TWAIN – Protocol for exchanging information between applications and devices such as scanners and digital cameras. TWAIN makes it possible for
digital cameras and software to “talk” with one another on PCs.
Unsharp Masking – A process by which the apparent detail of an image is increased; generally accomplished by the input scanner or through
computer manipulation.
USB (Universal Serial Bus) -The USB offers a simplified way to attach peripherals and have them be recognized by the computer. USB ports are about 10
times faster than a typical serial connection. These USB ports are usually located in easy to access locations on the computer.
Virtual Memory -Disk space on a hard drive that is identified as RAM through the operating system, or other software. Since hard drive memory is often less
expensive than additional RAM, it is an inexpensive way to get more memory and increase the operating speed of applications.
WYSIWYG – What You See Is What You Get. Refers to the ability to output data from the computer exactly as it appears on the screen.

Filed under: Notes — admin @ 16:44

1) Video lectures – 15 hours of video in c. 10 minute blocks on:
      flat part recognition, deformable part recognition, range data
      and stereo data 3D part recognition, detecting & tracking
objects in video,
      and behaviour recognition. There are also about 8 hours of introductory
      image processing videos.
2) CVonline – organising about 2000 related topics in imaging & vision,
      including some elementary neurophysiology and psychophysics.
      Most content is in wikipedia now, but the index is independent.
3) CVonline supplements:
      list of online and hardcopy books
      list of datasets for research and student projects
      list of useful software packages
      list of over 300 different image analysis application areas
4) Online education resources of the Int. Assoc. for Pattern Recognition
5) HIPR2 – Image Processing Teaching Materials with JAVA
6) CVDICT: Dictionary of Computer Vision and Image Processing

See more details of these below .

Best wishes, Bob Fisher


1) video lectures – 15 hours of video in c. 10 minute blocks.

    Including PDF slides, links to supplementary reading, a drill
question for each video
    The site contains a set of video lectures on a subset of computer
vision. It is
    intended for viewers who have an understanding of the nature of
images and some
    understanding of how they can be processed. The course is more like
    Computer Vision 102, introducing a range of standard and acccepted
    methods, rather than the latest research advances.

    Similarly, there are are about 8 hours of introductory image
processing lectures at:
    with similar resources


2) CVonline is a free WWW-based set of introductions to topics in
computer vision.

    Because of the improvements in the content available in Wikipedia,
    it is now possible to find content for more than 50% of CVonline’s
2000 topics.
    CVonline groups together the topics into a sensible topic
hierarchy, but tries
    to exploit the advancing quality and breadth of wikipedia’s content.


3) CVonline has a variety of supplemental information useful to
students and researchers,
    namely lists of:

    online and hardcopy books:
    datasets for research and student projects:
    useful software packages:
    list of over 300 different image analysis application areas:


4) The education resources of the Int. Assoc. for Pattern Recognition

contain many links to Tutorials and Surveys, Explanations, Online Demos,
Datasets, Books, Code for:
   Symbolic pattern recognition, Statistical pattern recognition,
Machine learning,
   1D Signal pattern recognition and 2D Image analysis and computer vision.


5) HIPR2: free WWW-based Image Processing Teaching Materials with JAVA

   HIPR2 is a free www-based set of tutorial materials for the 50 most commonly
   used image processing operators. It contains tutorial text, sample results
   and JAVA demonstrations of individual operators and collections.


6) CVDICT: Dictionary of Computer Vision and Image Processing

   This are the free view terms A..G from the the first version of the
   Dictionary, published by John Wiley and Sons. (Note there there a second
   edition currently on sale).



22 Ιουνίου 2020


Filed under: ΚΑΛΛΙΤΕΧΝΕΣ-ARTISTS — admin @ 23:26

 1. David Rokeby, N’Cha(n)t, 2001
 2. Grahame Weinbren, Frames, 1999
 3. Char Davies, Ephomere, 1998
 4. Bill Viola. Going Forth By Day, 2002
 5. Ben Rubin and Mark Hansen, Listening Post, 2003
 6. Jenny Holzer. ARNO, 1996
 7. Irit Batsry, These Are Not My Images, Neither There Nor Here, 2000
 8. Anwar Kanwar, A Season Outside, 1997
 9. Lyn Hershman, Conceiving Ada, 1996
10. Laurie Anderson performing Stories from the Nerve Bible. 1995
11. Victoria Vesna with Jim Gimzewski, Zeroawavefunction, Nano Dreams and nightinares, 2002
12. Luc Courchesne. Landscape One. 1997


Mark Kostabi, Electric Family. 1998, Frontispiece
I.1. Georges Melies. Le Voyage dans Lune
I.2. National Aeronautics and Space Administration (NASA), Astronaut David Scott Plants American Flag on the Moon, July 26, 1971
I.3. Fritz Lang, Metropolis, 1926
I.4. Andy Warhol. Thirty Are Better than One, 1963
I.5. Paul Hosefros, Gauguin and His Flatterers, June 25. 1988

1.1. Abraham Bosse (1602-76), Perspective Drawing

1.2. Albrecht Darer, Untitl., 1538
1.3. Early camera obscure. from A. Kircher, Ars Magna Lucis et Umbrae. 1645
1.4. Camera obscure, circa seventeenth century
1.5. Camera lucida, circa eighteenth century
1.6. Jan Vermeer. Young Girl With A Flute, 1665
1.7. Theodore Maurisset, La Daguerreotypomanie, 1839
1.8. Eadweard Muybridge, Woman Kicking, 1887
1.9. Raoul Hausmann, Tatlin at Home. 1920
1.10. John Heartfield, Hurrah, die Butter ist All, (Hurrah, the Butter Is Gone!), 1935
1.11. Lumiere Brothers, frames from Un Train Arrive en Gare. 1896

2.1. Etienne-Jules Marey. Chronophotographe Geometrique, 1884
2.2. Giacomo Balla, Swifts: Paths of Movement + Dynamic Sequences, 1913
2.3. Marcel Ducharnp, Nude Descending a S.ircase, No. 21912
2.4. Vladimir Tatfin, Monument for the Third International. 1920
2.5. 211810 Moholy-Nagy, Light Space Modulator. 1923-30
2.6. Dziga Vertov, Man with a Movie Camera, 1929
2.7. Marcel Duchamp, The Large Glass or The Bride Stripp. Bare by Her Bachelors, Even, 1915-23 (replica: 1961)
2.8. Charlie Chaplin, Modern Times, 1936
2.9. James Rosenquist Working in Times Square, 1958
2.10. James Rosenquist. Love You with My Ford, 1961
2.11. Andy Warhol, Green Coca-Cola Bottles. 1962
2.12. Andy Warhol, Electric Chair, 1965
2.13. Roy Lichtenstein, Hopeless, 1963
2.14. Eduardo Paolozzi, Artificial Sun. 1965
2.15. Richard Hamilton, Kent State, 1970

3.1. Robert Rauschenberg, Signs, 1970
3.2. Keith Haring, Untitled, 1983
3.3. John Baldessari, I Will Not Make Any More Boring Art, 1971
3.4. Mark Tansey, Secret of the Sphinx, 1984
3.5. Jean Dupuy. Jean Tinguely, and Alexander Calder with Heart Bea. Dust, .69
3.6. Jean Dupuy. artist, and Ralph Martel, engineer, Heart Beats Dust 1968
3.7. Pepsi-Cola Pavilion. Osaka, 1970
3.8. Remy Charlip, Homage to Loie Fuller, March 8, 1970
3.9. Merce Cunningham, John Cage and Stan Van 081 8880. Variations V, 1965
3.10. Barbara Kruger, Untit/ed, 1982
3.11. Carolee Schneemann, Cycladic imprints, 1993
3.12. Adrian Piper, What it’s Like, What lt Is, #3, 1.4
3.13. Damien Hirst, Hymn, 2001
3.14. Stelarc, Amplifi. Body, Automat. Arm and Third Hand, 1992
3.15. Larry List, An Excerpt from the History of the World, 1990
3.16. John Craig Freeman, Rocky Fla. Billboards, 1994
3.17. Mierle Laderman Ukeles, Touch Sanitation Show, 1.4
3.18. Krzysztof Wodiczko. Projection on the Hirshhorn Museum. 1988
3.19. Christo and Jeanne Claude, Wrapped Reichstag. Berlin, 1995
3.20. Robert Wilson, Einstein on the Beach (final scene by the lightboard), 1986

4.1. Nam June Paik, Magnet TV, 1965
4.2. Nam June Paik, TV Buddha, 1974
4.3. Ulrike Rosenbach, Meine Macht Ist meine Ohnmacht (To Have No Power Is to Have Power),
4.4. Bruce Nauman, Live Tap. Video Corridor, 1969-70
4.5. Dan Graham, Opposing Mirrors and Video Monitors on Time Delay, 1974
4.6. Beryl Korot, Dachau, four-channel video installation, 1974
4.7. Vito Acconci, performance at Reese Paley Gallery. 1971
4.8. Vito Acconci. Dennis Oppenheim, and Terry Fox, performance, 1971
4.9. Frank Gillette and Ira Schneider, Wipe Cycle, 1969
4.10. Juan Downey, Information Withheld, 1983
4.11. Doug Hall, The Terrible Uncertainty of the Thing Described, 1987
4.12. Martha Rosler. Vital Statistics of a Citizen, Simply Obtained, 1977
4.13. Dara Birnbaum, Technology/Transformation: Wonder Woman, 1978/9
4.14. Joan Jonas. Double Lunar Dogs, 1984
4.15. Chris Burden, L.nardo, Michelangelo, F?embrandt, Chris Burden, 1976
4.16. Daniel Reeves, Smothering Dreams. 1981
4.17. Ant Farm, Media Burn, 1974/5
4.18. Paper Tiger TV, Herb Schiller Smashes the Myths of the Information Industry, 1985
4.19. Paper Tiger TV, Taping the People With AIDS Coalition Talk Back Show, 1988
4.20. The Wooster Group, To You The Birdie. 2002
4.21. Judith Barry. Maelstrom (Part One), 1988
4.22. Jean-Luc Godard, and Anne,Marie Motility, Six Fois Deux (Sur et Sous la Communication), 1976
4.23. Frame from Six Fois Deux, 1976
4.24. Frame from Godard, France/tour/detour/deux/enfants, 1978
4.25. Laurie Anderson, 0 Superman, 1981
4.26. Robert Ashley, Cami//a, 1970
4.27. Miroslaw Rogala. Nature Leaving Us. 1989
4.28. Dara Birnbaum, Damnation of Faust: Evocation, 1984
4.29. Nam June Paik, TV Garden, 1974-78
4.30. Bill Viola, Room for St John of the Cross, 1983
4.31. Stein, Borealis. 1993
4.32. Dieter Froese, Not a Model for Big Brother. Spy Cycle (Unprazise Angaben), 1984
4.33. Julia Scher, detail frorn /’// Be Gentle, 1991
4.34. Mary Lucier, Oblique House, 1993
4.35. Tony Oursler, Horror (from Judy), 1994
4.36. Bill Viola, Slowly Turning Narrative, 1992
4.37. Joan Jonas, Lines in the Sand, 2002
4.38. Eija Liisa Ahtila, The House, 2002
4.39. Doug Aitken, New Skin, 2002
4.40. Gary Hill. Still Life, 1999
4.41. Shirin Neshat. Untitled (Rapture series – Women Scatter.), 1999
4.42. Chantal Akerman, Froth the Other Side, 2002

4.43. Josely Carvalho, Book of Roofs. 2001 


5.1. Keith Haring, Untit/ed, 1984 
5.2. Joseph Nechvatal, The Informed Man, 1986 
5.3. Nancy Burson with David Kramlich and Richard Carling. Androgyny (SI, Men and Six Women), 1982 
5.4. Woody Vasulka, Number 6, ca. 1982 
5.5. Janet Zweig. Mind Over Matter, 1993 
5.6. Peter Weibel, The Wall, The Curtain (Boundary, which), also Lascaux, 1994 
5.7. Craig Hickman, Signal to Noise. #1, 1988 
5.8. Ken Feingold, If/Then, 2001 
5.9. www.thesims.corn, 2000 ongoing 
5.10. Tennessee Rice Dixon, Count, 1998 
5.11. Christa S088418! 40d Laurent Mignonneau, Interactive Plant Growing, 1994 
5.12. Christa S088414! 48d Laurent Mignonneau, Interactive Plant Growing, 1994 
5.13. James Seawright, Houseplants. 1983 
5.14. Manfred Mohr, P-159/A, 1973 
5.15. Jill Scott. Beyond Hierarch., 2000 
5.16. Paul Kaiser and Shelly Eshkar, Pedestrian. 2002 
5.17. Harold Cohen, Brooklyn Museum Installation, 1983 
5.18. Gretchen Bender, Total Recall, 1987 
5.19. Gretchen Bender, diagram of monitor arrangements for Total Recall 
5.20. Jenny Holz, Protect Me from What I Want. 1986 
5.21. Jenny Holzer, Laments, 1989 
5.22. Jenny Holzer, Survival Series, Installation at the Guggenheim Museum, New York, 1990 
5.23. Jenny Holzer, installation view, US Pavilion 44, Venice, 1990 
5.24. David Small. Illuminated Manuscript, 2002 
5.25. 80 S44047, Passage Sets/One Pulls Pivots at the Tip of the Tongue, 1994 
5.26. Lynn Hershman, A Room of One, Own, 1993 
5.27. Lynn Hershman, detail, A Room of One, Own. 1993 
5.28. Lynn Hershman, detail, A Room of One, Own. 1993 
5.29. Graham Weinbren, Sonata, 1993 
5.30. Graham Weinbren. detail, Sonata, 1993 
5.31. George Legrady, Pockets Full of Memories, 2001 
5.32. Naoko Tosa, detail, Talking to Neuro Baby, 1994 
5.33. Naoko Tosa, Talking to Neuro Baby. 1994 
5.34. Naoko Tosa, Tathing to Neuro Baby, 1994 
5.35. Zoe Belloff, The Influencing Machine of Miss Natalija A. 2002 
5.36. Pattie Maes, Alive: An Artificial Life, 1994 
5.37. Miroslaw Rogala. Lovers Leap, 1995 
5.38. Miroslaw Rogala, Lovers Leap, 1995 
5.39. Liz Phillips, Echo Evolution, 1999 
5.40. Stephen Vitiello, Frogs in Feedback, 2000. 
5.41. Tim Hawkinson, Uberorgan, 2000 
5.42. Mary Ann Amacher, Music for Sound-Joined Room. 1998 
5.43. Greg Lock, Commute (on Loca(0n), 2002 5.44. Virtual realItY gloves. circa 1994 
5.45. Virt.I reality headset. circa 1904  
5.46. Jeffrey Shaw. Configurting the Cave. 1090 
5.47. Perry Ho.rman. Bar Code Nord. 1994 
5.48. Perry Horman, Bar Code Note1,1090  
5.49. Toni Dove The Comm. Dream from Archaeology of a Mother Tongue, 1693
5.50. Perry Hoberman, Tenets., 1999 
5.51 John 1n Cage, Comperes and 11, 1988 
5.52. Robed Wilson. Philip Glass, Monsters or Theca 1998 
5.53. Robert Wilson, Philip Glass, Monstem of Orem 1598 
5.54. Robert Wilson. Philip Goan, Monsters or Grace, 1998 


6.1. Rafael Lozano…eh Vectorial Elevation, 1999/2002 
6.2. Eidekenljghts, 2002 
6.3. Scott Paterson and marina 7urkow, 80 Per …ern.. object with PD, 2002
6.4. W. Bradford Paley, rert Arn 2002/3 
6.5. Roy Ascott. View Nave Laboratory Minna. 1.36 
6.6. Roy Ascot. Organ Conc.,’ d’AINe au Pays Ns Mementos. 1995 
6.7. Sherrie Rabinowitz and Kg Galloway, Satellite Arts Project A Space With No Ceognsphical Boundaries. 1977 
6.8. Sherrie Rabin… and Kit Galloway. Electronic Care NNwork 1984 Mo.k. 1984-2003 
6.9. Eduardo Kac and Woo Nakamura, Essay Concerning Human Understanding, 1994 
6.10. Eduardo Kac and Woo Nakamura. Essay ConnerNng Human Undeistantling 1994 
6.11. Pool Sermon, Thematic Theannng, 1992 
6.12. Paul Sermon, Telematic YThon, 1992 
6.13. Lode Novak, Coked. Visions, webs., 1996 
6.14. Yael Kanarek. of ewe, 1.5 ongoing 
6.15. Nomads a. Gediminas Urbonas, Transaction, 2000 ongoing 
6.16. Wayne 02616y, The Degradation and Removal of The/a BlaTh Mala, 2001 
6.17. Emily Hartrell and Nina Sobell. c Sat Hem 1995 
6.18. David Blair. Was, or Me Discovery of TerevNion 0171052 The Bees, 1988 
6.19. Mummies, The The Room. 1985 
6.20. Giselle Reiguelman, Egosoopio, 2002 
6.21. Perry Bard. Walk This Way. 2001
6.22. Mark Napier. Riot 1999 
6.23. Josh On, They Rule, 2001  
6.24. Alex GalNway and RSG. Carnivore 2001-3
6.25. John Klima, Ecosystem.2001 
6.26 Nancy Paterson, Sitoce Mani. Shirt 1998 
6.27. Mary Flanagan, collection. 2001 
6.28. Robed Nide., ProTh 2002  
6.29. tsunamihnet. Charles Lim, Vi Yong, end Tien Woon, Alpha 3.3, 2002 
6.30. Marek Walczak, Helen Thorington. and Jesse Gilbert. Adrift 2001 
6.31. Androja Koluncic, Distribirted Justine Web work, 2002 
6.32. Critical Art Ensemble, Wercome to a World Without 8018388 1984 

Digital Currents: Art in the Electronic Age

21 Ιουνίου 2020


Filed under: NOTES ON PHOTOGRAPHY — admin @ 07:59

Οδηγίες από Μαρίνα Αντιόχου

10 Μαΐου 2020

corona flowers #1: Video Art Miden : Confession

Filed under: NOTES ON VIDEO,Uncategorized — admin @ 11:17


24 Απριλίου 2020

New secrets of Vermeer’s Girl with a Pearl Earring

Filed under: NOTES ΟΝ PAINTING — admin @ 06:43

New secrets of Vermeer’s Girl with a Pearl Earring to be revealed online next week
Mauritshuis museum’s detailed technical examination uncovers new findings on the Dutch artist’s brushwork, pigments and technique

23rd April 2020 11:08 BST

Girl with a Pearl Earring (around 1665) made up of images from the research project Girl in the Spotlight Photo: Sylvain Fleur
The results of an extensive technical examination of Johannes Vermeer’s Girl with a Pearl Earring (around 1665) will be announced early next week, giving new insights into how the Dutch artist painted one of the most famous works in the world. On 28 April, the Mauritshuis in The Hague will unveil a web page detailing the new findings, throwing new light on Vermeer’s brushwork, the use of pigments, and how he “built up” the painting in different layers.

An international team of conservators, scientists and researchers spent two weeks in early 2018 studying the painting in a specially constructed glass studio at the Mauritshuis, enabling members of the public to follow the forensic analysis.

The research project, known as The Girl in the Spotlight, was led by the Mauritshuis’s paintings conservator Abbie Vandivere who worked with specialists at several other institutions including the Rijksmuseum in Amsterdam and the Delft University of Technology. The painting was last examined in 1994 during a conservation treatment.

Vandivere outlines in a blog the purpose and processes of the initiative, saying: “Which materials did Vermeer use, and where did they come from? Which techniques did Vermeer use to create subtle optical effects? What did the painting look like originally, and how has it changed?” The research involved non-invasive imaging and scanning techniques, digital microscopy and paint sample analysis.

The blog contains a wealth of detail on the canvas, pigments, oil and other materials Vermeer used to create the work. In a section called “Watching Paint Dry”, she writes: “How did Vermeer make the paint that was used in the Girl with a Pearl Earring? Like most 17th-century Dutch artists, he used oil paint.” The binding medium used to paint the work is linseed oil, made from the seeds of the flax plant, she says

“The slow drying speed of oil paint allowed Vermeer to blend colours together in the Girl with a Pearl Earring, and to manipulate his paint after he applied it. To achieve the subtle blending from light to shadow, for example the translucent skin on the edge of her cheek, he used a soft dry brush to blend the wet paint after he applied it,” writes Vandivere.

In another section, she describes zooming into the surface of the painting through a microscope lens. “Our eye is drawn to the pearl, not only because it is the painting’s namesake, but because Vermeer placed it at the centre of the composition. Did you know that it might not be a pearl at all? Costume and jewellery specialists believe that it’s too big to be real. Perhaps Vermeer exaggerated it a little to make it more of a focal point of the painting… At high magnification, you can see that Vermeer painted the pearl with only a few brushstrokes of lead white.”

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20 Ιανουαρίου 2020


18 Νοεμβρίου 2019

Hand creation and bones setup with 3ds max 2018

Filed under: 3DMAX,Animation works,Uncategorized — admin @ 17:48


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