Encore en remuant le fond de ma boîte à bookmark, j'ai retrouvé ce site spécialisé en Street art. Des artistes du monde entier qui donnent dans l'éphémère en attendant un coup de karcher pour recommencer. Un forum se cache derrière cette galerie. Mention spéciale à Phil Poule de Bordeaux.
Un site que je viens de retrouver au fin fond de mes bookmarks. "War of monstars" est un projet original. C'est une bataille graphique orchestrée par le designer français Koadzn. Il a envoyé à 80 illustrateurs un dessin et chacun à mis sa pâte dans un combat de monstres. Le tout est regroupé dans un livre. Pas mal!
La fondation Langlois se focalise sur quelques extraits du travail de Steina et Woody Vasulka, 2 excellents vidéastes de l'europe de l'Est. Exemple : La Machine Vision qui est un groupe dinstallations qui visent à créer, par la caméra, une vision qui dépasse les limites de lil humain. Allvision, Iun des premiers travaux du projet Machine Vision, et qui y joue un rôlie central, est un dispositif sphérique et rotatif qui médiatise lexpérience qua le spectateur de lespace visuel. Le concept de " allvision " chez Steina Vasulka correspond à lexploration dun mode de voir selon une vision englobante dérivée de la machine.
Quote> A Spotlight on the Steina and Woody Vasulka fonds
The Daniel Langlois Foundation is proud to begin offering on-line access to its Vasulka Archives to coincide with the tribute to Steina and Woody Vasulka held within the 30th Montreal International Festival of New Cinema and New Media.
The Steina and Woody Vasulka fonds, like all documents collected by the Centre for Research and Documentation (CR+D), were first entered into our database so as to allow more in-depth research. Note that the Foundation doesn't systematically digitize all documents, rather only those whose physical or electromagnetic support (video, etc.) is deteriorating and those that back the findings of research conducted within our collections.
Our main goal in showcasing the Vasulkas' career and achievements is to enable people to discover the work of these two artists through innovative electronic means. A timeline we have drawn up sheds light on the philosophy driving the couple when they founded The Kitchen in 1971. This timeline closely follows the Vasulkas' career paths with a focus on their relationship with the different instruments and devices they acquired or developed with engineers. By including a selection of works, we want to stress the impact these instruments have had on the conceptual and aesthetic aspects of their art.
For their talent and dedication in getting this project off the ground, I'd like to thank Audrey Navarre, Alain Depocas, Julie Desautels, Jacques Perron, Catherine Mussely, Vincent Bonin and Angela Plohman.
Découvrez ou redécouvrez les expériences de Charles Forman, un voyage dans le monde des pixels et des éléments. Via Setpixel
>Quote : A digital image is made up of two dimensional array of different colors. These indivual colors that make up an image are called pixels. Normally, these colors are displayed tightly next to each other. When displayed in the right order, they made up what appears to be a picture. What if these pixels were displayed in a slightly different way? Perhaps each pixel could be represented as an icon representing that pixel rather than a simple dot on a screen.
Previously, these techniques were used very commonly due to the limitation of the display technology. For example, on text only terminal displays, pictures could be converted into text where each pixel of the image is represented by a letter that resembles the brightness of that pixel. Other examples would include LED display panels, or more artistic examples like Danny Rozin's Wooden Mirror.
It is interesting that these concepts are being explored not because of necessity but rather because of a particular visual aesthetic.
In this case, each pixel is represented by a circle. The size of the circle is varied based on the brightness of that particular pixel. So, if the pixel is very bright, the circle is very large. If the pixel is very dark, the circle is very small or invisible. This is very standard as far as these type of effect goes.
The slight difference with this demo is that the circles are colored only when something in the video moves. With each frame, the previous video frame is differenced with the current to get a picture of what has moved. When something has moved, or changed, that section of the buffer is painted. Over time, this buffer is faded. The result is some kind of trailing effect.
Based on this buffer, the color of the circle is affected. The section of video that is currently moving's circle is painted bright green. Over time, the color will fade.
Because the circles size is still based on the intensity of the pixel in the video, if there is much movement, it doesn't mean that the image will be very bright and green, rather that it will be more clear.
The aesthetic of the end result is reminisent of visualizations of old computer displays, or pixel-based toys like "lite-brite".
Tout est dans le titre. Passionant si vous aimez le genre. De la peinture aux pohotos, le site de Matthew Hurley est un échantillon de son livre The Alien Chronicles.
Hello, I'm Matthew Hurley and welcome to UFOartwork.com.
For a number of years I have been intrigued by old artwork that appears to depict UFOs. The artwork in my collection consists of frescos, tapestries, illustrations, oil paintings and early photographs.
Although some of the artwork represents actual sightings, others feature UFOs in a religious context.
One can only guess at why these artists chose to insert UFOs into their artwork. Did they have UFO sightings in their day and decide to add them in ? Perhaps they had an inner urge to insert them. Maybe they had some arcane knowledge about the relationship between UFOs and certain religious events.
Whatever the truth is, there are UFOs in these pieces of artwork and one can ponder and reflect on this truth.
I hope this collection, and the book* that I have compiled [The Alien Chronicles], will give gravitas to the idea that we have been visited by UFOs for thousands of years and whose occupants may have had an effect on our own genesis & evolution.
Philip Ross a tenu une conférence sur son artwork, traçant le rapport entre le comportement animal, la technologie et les processus développementaux qui forment les mondes dans lesquels nous vivons. Sa vision enthousiaste des environnements construits par la technologie est tempérée par un désir de comprendre le rapport entre les objets, les systèmes, la créativité, les humains Philip emploie la matière organique comme inspiration et moyen pour travailler. Son travail se trouve à l'intersection de la biotechnologie, de l'art folklorique, et des études écologiques. Philip a suivi les cours de l'université de Stanford - l'institut d'art de San Francisco - et de Symbiotica, il a aussi été membre de l'Exploratorium et de la Johnson Oyster Company.
