Malina / Plas / Hokken Electronic Art

1. Auflage 2013
ISBN: 978-1-4832-9376-9
Verlag: Elsevier Science & Techn.
Format: PDF
Kopierschutz: 1 - PDF Watermark

E-Book, Englisch, 133 Seiten, Web PDF

Computers are more and more becoming creative tools in music as well as in the visual arts and design. In the last few years, it has become clear that digital technology provides a platform for multimedia productions as well as a medium for new art forms. Computer Music and Computer Graphics & Animation have their own international forums. The need was felt, however, to bring together the diverse disciplines within art and technology in one international event - the First International Symposium on Electronic Art (FISEA). The Symposium attracted considerable interest and hundreds of papers and proposals were submitted, of which a selection were accepted. This book, also published as a supplement to the journal Leonardo, publishes 20 of these selected papers under the editorship of Wim van der Plas, Ton Hokken and Johan den Biggelaar. This richly illustrated issue on Electronic Art reflects the enormous international interest which FISEA generated and will further stimulate interest in applications of new technology in music, visual arts and design.

Autoren/Hrsg.

Malina, Roger F.

Plas, W. van der

Hokken, T.

den Biggelaar, J.

Inhaltsverzeichnis

1;Front Cover;1
2;Electronic Art;2
3;Copyright Page;2
4;Table of Contents;3
5;EDITORIAL;5
6;Chapter 1. Perceptual Correspondences of Abstract Animation and Synthetic Sound;7
6.1;DYNAMICS;8
6.2;Bibliography;8
7;Chapter 2. Art and Education in the Telematic Culture;10
7.1;APPENDIX;14
7.2;References;15
8;Chapter 3. The Electronic Bauhaus: Gestalt Technologies and the Electronic Challenge to Visual Art;17
8.1;THE ISDN FOR ART: TOWARDS ANARCHITECTURE OF COMMUNICATION;17
8.2;ECOTECHNOLOGY:DESIGN WITHECOLOGY;19
8.3;THE EXPERT SYSTEMARTIST:FIFTH-GENERATIONCOMPUTER CULTURE;20
8.4;References and Notes;22
9;Chapter 4. Logic and Time-Based Art Practice;23
9.1;SYSTEMATIC CONSTRUCTION;23
9.2;LOGIC PROGRAMMINGAND IMAGE HANDLING;23
9.3;THE INFERENCE SYSTEM AND STRUCTURES IN TIME;23
9.4;JASPER: A SAMPLE WORK;23
9.5;FURTHER OPPORTUNITIES;24
10;Chapter 5. Computational Art;25
10.1;THE CONSTRUCTION OF AN IMAGINATIVE ARTIFACT;25
10.2;NOTATIONAL SYSTEMS;26
10.3;THE ALGORITHMIC GENIUS;27
10.4;CONCLUSION;28
10.5;References;28
11;Chapter 6. Establishing a Tonic Space with Digital Color;31
11.1;TONIC SPACE;31
11.2;METHOD OF MEASURE;32
11.3;TOWARDS DIGITAL COLOR CONCORD;32
11.4;RESERVATIONS AND CONCLUSIONS;33
11.5;Acknowledgments;33
11.6;Selected Reading;33
12;Chapter 7. The Creation Station: An Approach to a Multimedia Workstation;35
12.1;INTRODUCTION TO THE CREATION STATION;35
12.2;SOME SPECIFIC DESIGN CRITERIA;35
12.3;POTENTIAL PROGRAMMING OBSTACLES;36
12.4;INTRODUCTION TO OBJECT-ORIENTED PROGRAMMING LANGUAGES AND OBJECTIVE-C;36
12.5;PROGRAMMING IN OOPLS;37
12.6;THE CREATION STATION BASICS;38
12.7;THE EDITOR AND EDITORUI;40
12.8;CONCLUSION;40
12.9;Bibliography;41
13;Chapter 8. Computer Music Languages . . .and the Real World;43
13.1;COMPUTER MUSIC LANGUAGES;43
13.2;PROPOSAL FOR CLASSIFICATION;44
13.3;CLASSIFICATION FOR PROGRAMMING LANGUAGES;44
13.4;CLASSIFICATION FOR MUSIC LANGUAGES;45
13.5;CONCLUSIONS;45
13.6;References and Notes;46
13.7;Further Reading;46
14;Chapter 9. Computer Graphics and Animationas Agents of Personal Evolution in the Arts;47
14.1;THE CHARACTERISTICS OF 'COMPUTER ART';47
14.2;THE CONSTRAINTSOF COMPUTER GRAPHICS TECHNOLOGY;48
14.3;THE CREATIVE ACT AS PERSONAL EVOLUTION;48
14.4;THECHARACTERISTICS OF CREATIVE PROCESS;48
14.5;THE COMPUTER AS AN EVOLUTIONARY AGENT;49
14.6;References;50
15;Chapter 10. Storing Art Images in Intelligent Computers;51
15.1;THE STORAGE PROBLEM;52
15.2;RECOVERING IMAGES FROM STORAGE;53
15.3;PROVIDING IMAGE INTELLIGENCE TO THE COMPUTER;55
15.4;ECONOMY RESULTING FROM INTELLIGENT IMAGE STORAGE;57
15.5;CONCLUSION;58
15.6;Acknowledgement;58
15.7;References and Notes;58
16;Chapter 11. The Making of a Film with Synthetic Actors;59
16.1;SCENARIO;59
16.2;CREATION OF THE ACTORS;59
16.3;ANIMATING THE HUMAN BODY;61
16.4;ANIMATING THE HANDS;62
16.5;ANIMATING A HUMAN FACE;63
16.6;REALISTIC ASPECTS;64
16.7;SYNTHETIC CAMERAS AND LIGHTS;65
16.8;References and Notes;66
17;Chapter 12. Towards a Universal and Intelligent MIDI-Based Stage System: A Composer/Performer's Testimony;67
17.1;ROBOTICS IN SYNCHOROS;67
17.2;SYNCHOROS IN THE CONYINUITY;68
17.3;THE CURRENT SYNCHOROS SYSTEM;69
17.4;METHODOLOGY:A NEW MUSIC-MACHINE RELATIONSHIP;70
17.5;INTERDEPENDENCE OF THE MUSICAL LEVELS;70
17.6;DEVELOPMENT OF THE SYSTEM;71
18;Chapter 13. Geometric Image Modelling of the Musical Object;73
18.1;THE PATTERN, THE RHYTHM AND THE IMAGE;73
18.2;GRAPHIC REPRESENTATION OF MUSICAL KNOWLEDGE;74
18.3;GRAPHIC SPECTRAL REPRESENTATION OF THE MUSICAL PHRASE;75
18.4;CONCLUSION AND FUTURE APPLICATIONS;76
18.5;References;76
19;Chapter 14. The Computer: Liberator or Jailerof the Creative Spirit;77
19.1;PREAMBLE;77
19.2;THE HISTORICAL ROLE OF TECHNOLOGY IN THE VISUAL ARTS;77
19.3;THE ROLE OF SCIENCE AND MATHEMATICS IN THE VISUAL ARTS;77
19.4;IS THERE A RELATIONSHIP BETWEEN ART AND AESTHETICS?;79
19.5;IS THERE A COMPUTER IMAGING AESTHETIC?;80
19.6;WHAT DO WE MEAN BY 'COMPUTER ART'?;82
19.7;ADVANTAGES AND DISADVANTAGES OF THE COMPUTER FOR THE ARTIST;83
19.8;MY OWN WORK;84
19.9;Reference;84
20;Chapter 15. The Aesthetics of Exhibition:A Discussion of Recent American Computer Art Shows;87
20.1;A HISTORICAL APPROACH TO THE DISPLAY OF NEW ART;88
20.2;THE CHALLENGES INVOLVED IN THE MOUNTING OF COMPUTER ART;91
20.3;CONTEMPORARY ART SPACES: STATIC VS.DYNAMIC;91
20.4;WHAT GETS VIEWED;92
20.5;ART GALLERIES OF THE FUTURE;93
20.6;References;94
21;Chapter 16. The Staging of Leonardo's Last Supper: A Computer-Based Exploration of Its Perspective;95
21.1;THE LAST SUPPER;96
21.2;PERSPECTIVE MODEL;99
21.3;DISCUSSION;101
21.4;SUMMARY;101
21.5;Acknowledgments;102
21.6;References and Notes;102
22;Chapter 17. State-of-the-Art Art;103
22.1;HARDWARE, SOFTWARE AND ART;103
22.2;WHAT IS ART, ANYWAY?;103
22.3;IT HAS HAPPENED BEFORE;103
22.4;FUTURE TRENDS;104
23;Chapter 18. A New Language for Artistic Expression: The Electronic Arts Landscape;105
23.1;A NEW LANGUAGE;105
23.2;A NEW VOCABULARY;106
23.3;NEW ART FORMS;108
23.4;Bibliography;108
24;Chapter 19. Some Issues in the Development of Computer Art as a Mathematical Art Form;109
24.1;THE COMPUTER AS ARTIST;110
24.2;Al AND PROBLEMS OF SEMANTICS;111
24.3;PLATONISM AND FORMALISM IN MATHEMATICS AND ART;113
24.4;MATHEMATICS AS CULTURE;114
24.5;MATHEMATICS AS COMPUTER ART;115
24.6;References;116
25;Chapter 20. Orphics: Computer Graphics and the Shaping of Time with Color;117
25.1;THEMATIC TRANSFORMATION;117
25.2;IMAGE FORMATION;117
25.3;DIMENSIONAL UPGRADES;119
25.4;THEMATIC DISSOLVES;120
25.5;DISCUSSION AND CONCLUSION;121
25.6;References and Notes;122
26;ABSTRACTS;123
26.1;MIXED MEDIA STUDIESIN TACTILITY: ANALTERNATIVE TO 'COMPUTER ART';123
26.2;ART COMMUNICATION AND THE WELL;124
26.3;NEW ART ONLINE;124
26.4;IMAGE PROCESSING:AN UNDER-UTILIZED RESOURCE FOR COMPUTER ART;125
26.5;IMAGE PROCESSING;125
26.6;THEORETICAL STATEMENT CONCERNING COMPUTER/ROBOTIC PAINTINGS;126
26.7;CYBERNETIC JEWELRY;126
26.8;EXTENDED MUSICAL INTERFACE WITH THE HUMAN NERVOUS SYSTEM: ASSESSMENT AND PROSPECTUS;127
26.9;DYNAMIC ON-LINE ARCHITECURE;128
26.10;PATT_PROCl: A COMPUTER-ASSISTED COMPOSITION PROGRAM;128