Selected Courses on Digital Art-UOWM

23 Απριλίου 2016

The Quick and the Dead-Walker Art Center

Filed under: Notes — admin @ 10:59
Surveying art that tries to reach beyond itself and the limits of our knowledge and experience, The Quick and the Dead seeks, in part, to ask what is alive and dead within the legacy of conceptual art. Though the term “conceptual” has been applied to myriad kinds of art, it originally covered works and practices from the 1960s and ‘70s that emphasized the ideas behind or around a work of art, foregrounding language, action, and context rather than visual form. But this basic definition fails to convey the ambitions of many artists who have been variously described as conceptual: as Sol LeWitt asserted in 1969, conceptual artists are “mystics rather than rationalists.” Although some of their work involves unremarkable materials or even borders on the invisible, these artists explore new ways of thinking about time and space, often aspiring to realms and effects that fall far outside of our perceptual limitations. 
The exhibition title derives from a biblical phrase describing the judgment of the living and the dead at the end of time. But it has been used in innumerable ways since, including by the designer and engineer R. Buckminster Fuller, who in 1947 lauded what he called the “quick realities” of modern physics, condemning the “dead superstitions” of classical, object-based Newtonian theories. This distinction between objects and events underlined many conceptual practices of the late 1960s and ‘70s that pressed at the edges of the discernable—the work of artists like George Brecht, who seamlessly transformed objects into motionless events and asked us to consider “an art verging on the non-existent, dissolving into other dimensions;” Lygia Clark, whose foldable sculptures sought to dissolve the boundary between inside and outside, each “a static moment within the cosmological dynamics from which we came and to which we are going;” and James Lee Byars who, obsessed with a magically gothic idea of perfection that included metaphorical enactments of his own death, declared that “the perfect performance is to stand still.”
With an international group of 53 artists in a range of media, The Quick and the Dead expands beyond the here and now, reaffirming conceptual art’s ability to engage some of the deeper mysteries and questions of our lives. The exhibition brings together more than 90 works, juxtaposing a core group from the 1960s and ‘70s with more recent examples that might only loosely qualify as conceptual. Included in the show are new works made specifically for the exhibition and a number that have not been previously shown or realized. The presentation expands beyond the Walker’s main galleries to its public spaces, parking ramp, the Minneapolis Sculpture Garden, and the nearby Basilica of Saint Mary.

Artists in the Exhibition

Francis Alÿs, Robert Barry, Joseph Beuys, George Brecht, James Lee Byars, John Cage, Maurizio Cattelan, Paul Chan, Lygia Clark, Tony Conrad, Tacita Dean, Jason Dodge, Trisha Donnelly, Marcel Duchamp, Harold Edgerton, Ceal Floyer, Felix Gonzalez-Torres, Roger Hiorns, Douglas Huebler, Pierre Huyghe, The Institute For Figuring, Stephen Kaltenbach, On Kawara, Christine Kozlov, David Lamelas, Louise Lawler, Paul Etienne Lincoln, Mark Manders, Kris Martin, Steve McQueen, Helen Mirra, Catherine Murphy, Bruce Nauman, Rivane Neuenschwander, Claes Oldenburg, Roman Ondák, Giuseppe Penone, Susan Philipsz, Anthony Phillips, Adrian Piper, Steven Pippin, Paul Ramírez Jonas, Charles Ray, Tobias Rehberger, Hannah Rickards, Arthur Russell, Michael Sailstorfer, Roman Signer, Simon Starling, John Stezaker, Mladen Stilinović, Sturtevant, Shomei Tomatsu

14 Απριλίου 2016

examples

Filed under: ΚΑΛΛΙΤΕΧΝΕΣ-ARTISTS — admin @ 09:22

https://player.vimeo.com/video/93658299 Travelogues from Diller Scofidio + Renfro on Vimeo.

7 Απριλίου 2016

Wipe Cycle – Frank Gillette & Ira Schneider 1969

Filed under: NOTES ON VIDEO,NOTES ON VIDEO INSTALLATIONS,ΚΑΛΛΙΤΕΧΝΕΣ-ARTISTS — admin @ 18:19

Wipe Cycle – Frank Gillette & Ira Schneider 1969

With nine monitors and a live camera, “Wipe Cycle”  transposes present-time demands as a way to disrupt television’s one-sided flow of information. In the exhibition “TV as a Creative Medium,” the installation was constructed before the elevator. So each visitor was immediately confronted with his or her own image. But the monitors also showed two video tapes and a television program. The installation, which made visitors a part of the information, was rigged in a highly complicated fashion: in four cycles, images wandered from one monitor to the other delayed by eight or sixteen seconds, while counter-clockwise a gray light impulse wiped out all the images every two seconds.
(Source: «Video-Skulptur retrospektiv und aktuell 1963–1989», Wulf Herzogenrath/Edith Decker (eds.), Cologne, 1989, p. 114.)
…The effect of Wipe Cycle, by the young New York artists Frank Gillette and Ira Schneider, was to integrate the viewer and his local environment into the larger macrosystem of information transmission. Wipe Cycle was first exhibited at the Howard Wise Gallery in New York in 1969 (“TV as a Creative Medium“). It consisted of nine monitors whose displays were controlled by synchronized cycle patterns of live and delayed feedback, broadcast television, and taped programming shot by Gillette and Schneider with portable equipment. These were displayed through alternations of four programmed pulse signals every two, four, eight, and sixteen seconds. Separately, each of the cycles acted as a layer of video information, while all four levels in concert determined the overall composition of the work at any given moment.
“The most important function of Wipe Cycle,” Schneider explained, “was to integrate the audience into the information. It was a live feedback system which enabled the viewer standing within its environment to see himself not only now in time and space, but also eight seconds ago and sixteen seconds ago. In addition he saw standard broadcast images alternating with his own delayed/live image. And also two collage-type programmed tapes, ranging from a shot of the earth, to outer space, to cows grazing, and a ‘skin flick’ bathtub scene.”
“It was an attempt,” Gillette added, “to demonstrate that you’re as much a piece of information as tomorrow morning’s headlines – as a viewer you take a satellite relationship to the information. And the satellite which is you is incorporated into the thing which is being sent back to the satellite. In other words, rearranging one’s experience of information reception.”* Thus in Wipe Cycle several levels of time and space were synthesized into one audio-visual experience on many simultaneous frequencies of perception. What is, what has been, and what could be, were merged into one engrossing teledynamic continuum and the process of communication was brought into focus.
(*) From an interview with Frank Gillette and Ira Schneider by Jud Yalkut in “Film,” East Village Other, August 6, 1969.
– Gene Youngblood: EXPANDED CINEMA, 1970, pp.341-343 (Closed-Circuit Television and Teledynamic Environments)

5 Απριλίου 2016

Olafur Eliasson Recruits Refugees to Assemble Symbolic Green Lights

Filed under: ΚΑΛΛΙΤΕΧΝΕΣ-ARTISTS,ΚΕΙΜΕΝΑ — admin @ 12:43

Olafur Eliasson Recruits Refugees to Assemble Symbolic Green Lights

Green_light_117999

Olafur Eliasson, Green light (2016), wood, recycled yogurt cups, used plastic bags, recycled nylon, LED (green), 35 x 35 x 35 cm (all photos by Thilo Frank & David de Larrea Remiro/Studio Olafur Eliasson, courtesy the artist and Thyssen-Bornemisz Art Contemporary)
In February, in the midst of Europe’s worst refugee crisis since World War II, Austria issued a cap on the number of asylum seekers it would accept: just 80 per day. The decision to tighten border controls, made in the wake of 90,000 asylum claims in the country, last year,sparked outrage throughout the EU.
In response to Austria giving migrants a red light, Danish-Icelandic artist Olafur Eliasson decided to create a “Green light,” a crystalline polyhedral LED light made from recycled materials. Over the course of three months, the lights will be assembled by refugees and migrants, working alongside local university students in a weekly workshop at Thyssen-Bornemisza Art Contemporary (TBA21) in Vienna. Built from recycled yogurt cups, plastic bags, nylon, and neon green LEDs, the modular lights can be stacked in any number of configurations. The project as a whole — including seminars, performances, screenings, lectures at TBA21, and the lights themselves — is meant to test “the agency of contemporary art and its potential to initiate processes of civic transformation,” according to a press release. 
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Olafur Eliasson, Green light, and artistic workshop at Green light, TBA21-Augarten, Vienna, 2016 (photo by Sandro Zanzinger)
“Green light is an act of welcoming, addressed both to those who have fled hardship and instability in their home countries and to the residents of Vienna,” Eliasson said in a statement. “It invites them to take part in the construction of something of value through a playful, creative process. Working together in an artistic context, in dialogue with the regular visitors of the Augarten, participants build both a modular light and a communal environment, in which difference is not only accepted but embraced.” At TBA21, the Green lights will be stacked to create in a growing installation in the exhibition space.
One thing that remains unclear is if and how those assembling the lights are being compensated for their work. We’ve reached out to TBA21 to ask, and will update this post when we hear back.
Eliasson’s Green lights cost $336 a pop and can be purchased on-site at TBA21, online, and through selected partners. Proceeds will go to various initiatives helping refugees in Austria.
Green_light_117761

Olafur Eliasson, Green light (2016)
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Olafur Eliasson, Green light (2016)
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Olafur Eliasson, Green light, and artistic workshop at Green light, TBA21-Augarten, Vienna, 2016 (photo by Sandro Zanzinger)
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Olafur Eliasson, Green light, 2016

27 Μαρτίου 2016

Μια βίδα αιωρείται πάνω από τις γραμμές στο σταθμό των τρένων.

Filed under: 3DMAX,AFTER EFFECTS,ΕΡΓΑΣΙΕΣ-PROJECTS — admin @ 16:30

24 Φεβρουαρίου 2016

3D Max match moving Αντικείμενο στον πραγματικό Χώρο

Filed under: 3DMAX,AFTER EFFECTS,Animation works,ΕΡΓΑΣΙΕΣ-PROJECTS — admin @ 17:10

3D Max match moving

Filed under: 3DMAX,AFTER EFFECTS,Animation works,interventions,ΕΡΓΑΣΙΕΣ-PROJECTS — admin @ 17:06
Γλυπτό:
 
Γλυπτό Δέντρο:
 
 
 
 
Γλυπτό Αστέρι:
 
 
Σκάκι Στο Πάρκο:
 
 
 

Κτίριο 3Ds MAX Γκαλερί

Filed under: 3DMAX,Animation works,interventions,ΕΡΓΑΣΙΕΣ-PROJECTS — admin @ 16:41

 

 

 

 

21 Φεβρουαρίου 2016

Filed under: NOTES ON CINEMA,NOTES ON STORYBOARD — admin @ 02:14

[youtube https://www.youtube.com/watch?v=leAZRtiuTHY]

10 Φεβρουαρίου 2016

a Crazy Comparison Between RAW and JPEG

Filed under: NOTES ON DIGITAL IMAGE,NOTES ON PHOTOGRAPHY — admin @ 12:07
Here’s a Crazy Comparison Between RAW and JPEG

Published on February 4, 2016 by Austin Paz

rawjpegtesthead
When starting out in photography, a lot of beginners are confused about RAW and JPEG formats while shooting. There are plenty of explanations out there, but with us being photographers, it’s easier for us to comprehend a visual reference.
I’ve had the option of shooting RAW since my Canon 20D over 10 years ago and even though I’ve never shot JPEG since then, I never actually compared a RAW with JPEG to see the data I would’ve been losing if I let the camera compress the files itself.

So I decided to do an extreme test: I used a Canon 70D to shoot a photo of a pure black image. I did this by not having a lens on the camera at all and just taking a shot with the lens cap on. I had my camera set to RAW+JPEG so I got the image in both formats directly from the camera. I shot these at 1/60s with the ISO at 3200 and at first glance, they are both identical and pure black:
RAW (left) and JPEG (right), as they looked straight out of camera.

RAW (left) and JPEG (right), as they looked straight out of camera.
Using Adobe’s Camera RAW editor, I bumped the exposure up 5 stops for both files and was amazed at what both images actually looked like.
The RAW black photo increased by 5 stops.

The RAW black photo increased by 5 stops.
The JPEG black photo increased by 5 stops.

The JPEG black photo increased by 5 stops.
Here are both images, side by side and cropped:
Crops of the RAW (left) and JPEG (right) after boosting exposure by 5 stops.

Crops of the RAW (left) and JPEG (right) after boosting exposure by 5 stops.
As you can clearly see, the two look nothing alike — it’s almost impossible to guess that they started as the same image. This is something to consider if you’re a JPEG shooter. Your shadows can look relatively inconsistent and discolored if you need to do extra processing. On the opposite end, RAW has a very uniform noise across the whole spectrum.
I’ll admit neither look too pretty, but these are extreme cases of pushing the limits of the shadows in an image and its worth acknowledging for anyone who takes their craft seriously. If you have the capability with your camera and don’t want your photo looking like the swamp thing, do yourself a favor and shoot RAW!
About the author: Austin Paz is a photographer and traveler based in New York City. You can find more of his work and writing on his website and Instagram. This article was also published here.
http://petapixel.com/2016/02/04/heres-a-crazy-comparison-between-raw-and-jpeg/

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