Archive

graphic

bcd28e14005dd8a8ffb652cf888d65ca

Dit project is gemaakt door Harvey Moon. Hij wilt zijn menselijk gebreken aanvullen met machines. Als kind kon hij niet goed tekenen maar hij heeft wel veel beelden in zijn hoofd die hij graag op papier zou willen zien. Zo is hij gekomen op ‘The Drawing Machine’

Materials:

De materialen die Harvey Moon gebruik zijn ijzer, motoren, bedrading, hout, machines, inkt en papier.

Technology:

Op de computer geprogrammeerde programma’s omgezet in een ‘Drawing Machine‘. De machine bevat ook een tracker, daarmee kan hij van alles volgen en zet dat direct neer op papier.

 Effect:

De beelden wat de Drawing Machine creëert zijn heel precies en stapsgewijs gemaakt. Daardoor merk je dat het niet menselijk is. De beelden zijn vaak abstract en soms heel realistisch. Het is maar niet wat je hem laat tekenen.

00fc4f55013806176310c774c4c267cf

aa394e0abd2d14766ccbb390179aafda

harvey8

Advertisements

JIM CAMPBELL

LOW RESOLUTION // WORK

thumb002 001 thumb005 thumb006

BIO

Tracing his work through the last 15 years, Jim Campbell will address some of the more general issues that have come up with computer mediated art. Starting with Interactivity and ending with what could maybe be called Data Aestheticsization, he suggests how some of the current directions of computer based art making practices are heading towards a formulaic approach.

Campbell’s work has gone through a progression from film to video to interactive installation to electronic sculpture. Thematically the work has been about human memory and its relationship to time and movement from both psychological and scientific perspectives. His earlier interactive works often are structured as psychological mirrors, where the viewer’s response to a work becomes part of the work itself, as in a feedback system. More recent works explore perception at the threshold of recognition of moving images, and postulate what kinds of meaning can be expressed with extremely small amounts of information?

Having spent the last 3 years looking at “the pixel” as one example of an atomic structure of a digital representation, Campbell will discuss how he’s come to the conclusion that the pixel as a visual element doesn’t really exist except as a media and art based contrivance to give us something to grasp onto (or to see) as “digital”. And finally he’ll discuss why these “Art by Number” methods that are being used have evolved naturally out of the structure of the computer.

MATERIALS

video installation : custom electronics, 775 LEDs

14 x 9 feet x 14 inches.

EFFECT

Low resolution work, the video footage for this work was shot from inside a taxi cab.
It is the full length of the trip from Manhattan, down the Westside Highway, across Chambers and the Brooklyn Bridge to Sarah Bostwick’s studio.

EMILIO GOMARIZ

Emilio Gomariz explores a large area into the digital field creating imaginary sculptural based forms, which most often are exported and published online as a GIF. Inspired also by computer’s interfaces, Emilio works on desktop performances, creating different kind of manifestations by the use of Mac OS X. His work has been recently included in online group exhibitions at Fach and Asendorf Gallery, bubblebyte.org, SPAMM, Domain gallery and CERMÂ. IRL at MIXED GREENS in NY, at The Photographers Gallery in London, TRANSNUMERIQUES #4 at Galeries in Brussels, at Centre d’Art Bastille in Grenoble, at Monster Truck in Dublin among others.

WORK

emilio-cover1

LINKS

http://emiliogomariz.net/

http://www.noname-magazine.com/emilio-gomariz

https://www.youtube.com/user/emiliogomariz

Effect is same a new media artist Carri Munden | Part 1

VINCE MC KELVIE

When did you first start making GIFs? What was the first GIF you made?

I first started making gifs around the time myspace was big so i could make cool profile pictures but then stopped for a long time because I started doing more linear video and animations, which was a huge mistake, I should have just stuck with gifs the whole time. The first gif I made was a pixilation of me consuming a toy car and seeing it drive all around inside my body by drawing marker tracks on my arms, legs and head. I just checked myspace to see if it was still there, but myspace is all different now.

What kind of a process do you go through to create your art?

Recently I’ve been making abstract 3d forms with transparent backgrounds. Usually the 3d object is floating freely in the frame, making it ideal for using it in different contexts, like tumblr or Giphy. I also just made an app called Tumblr Page Performer that dynamically pulls images and gifs from any tumblr and animates them across the user’s screen. On the technical side I use blender for all the 3d elements, then the usual after effects/photoshop for compositing and output. Also all my 3d files, .movs, and image sequences are free to download, which creates another potential context for my gifs.

Why GIF art? What makes it more appealing than other mediums?

Gifs are the polaroids of animation, they’re instant gratification, they’re simple but complex at the same time. They also bring up feelings of nostalgia . I work in a lot of digital media, most of which require a lot of programming. As a result, my workflow is very ordered and logical. My gifs are all made through stream of conciseness and experimentation so it’s very freeing for me. It’s also important to me to be able to display my images in a dynamic context which would be difficult with other media.

WORK

tumblr_mn6yb7PY9C1qkjjfoo1_400 tumblr_mqtsfovueu1qkjjfoo1_500 tumblr_mr4t31xkoS1qkjjfoo1_500 tumblr_n0a8e6nY4n1qkjjfoo1_500 tumblr_mvlrm5pH971qkjjfoo1_500    tumblr_n2mbj6NW821qkjjfoo1_400
tumblr_n36tonkQbb1qkjjfoo1_500tumblr_mx1w8kDTZh1qkjjfoo1_500

 

LINKS

http://vincemckelvie.tumblr.com/

http://vincemckelvie.com/Potluck/Sway/

http://blog.giphy.com/post/56970599397/artist-spotlight-vince-mckelvie-when-did-you

http://vincemckelvie.com/gradientforest/

Technology: 3D modelling | New Media Artist Carri Munden | Part 1

PETRA CORTRIGHTCortright verwierf de afgelopen jaren faam met haar YouTube performances en digitale schilderijen. Haar werk werd besproken in onder andere Artforum, TIME, Flaunt Magazine en de New York Times Magazine. Cortrights werk is wereldwijd getoond in verschillende groepstentoonstellingen zoals in het Internet Paviljoen op de Biënnale van Venetië (2009), de San Jose Biënnale (2010) en de Biënnale van Lyon (2013), en de Los Angeles Contemporary Museum of Art. Cortright had solotentoonstellingen in Midnight Club, Berlijn, Preteen Gallery, Mexico Stad en recent in Steve Turner Gallery, Los Angeles.

WORK
P 5  p3   

1  12

MAMA presenteert een solotentoonstelling van de jonge kunstenares Petra Cortright (US, 1986), ASMR
zaterdag 29 maart 2014 t/m zondag 25 mei 2014 @ Showroom MAMA

LINKS

http://www.showroommama.nl/nl/projecten/623/ASMR/

http://www.petracortright.com/hello.html

Het werk wat gelijk is aan PART 1 | NEW MEDIA ARTIST | CARRI MUNDEN is het maken van digitale prints

 

 

CARRI MUNDEN / CASETTE PLAYA

BIO

Carri Munden is an English fashion designer. Born as Carri Munden, she is also credited as Carri Munden and CassettePlaya, her fashion label. She currently works and lives in London. In 2007 director and designer carri munden was nominated for best menswear designer at the british fashion awards alongside christopher bailey and alexander mcqueen. 2008 carri was awarded best fashion designer in rolling stone’s best of rock issue.Cassette playa has collaborated + worked with brands including nike, sega, jim henson, nintendo, stussy, swatch, phenomenon jp, rockers nyc, medicom + mattel.

WORK

a8dff65dec7b5bf7189dd94d0a2ebba0    a687f0c56f8aba4f088a589bb88567df        

far7    CP


MATERIAL

Cassette playa is an international luxury women’s + menswear brand with a reputation for cult graphics and digital print. Cassette playa has chosen to show digitally for 8 of their 12 seasons at london fashion week using film, animation, sound, augmented reality and interactive digital installations to push the boundaries of fashion presentation.

TECHNOLOGY

“ We use really basic pieces of technology, like glitter brushes that people use to put glitter on their MySpace profiles. People can look at our stuff and think, “It’s done,” but we understand the type of people who use that type of technology and who would appreciate our clothes. We just want to put it on a higher level — making stuff with that technology on a different scale.”

The video, titled PVNK, is a sensory teeth-kicker that attempts to investigate “the tribal aspects of punk and subcultures by exploring scarification and body modification using 3D modelling.” In otherwords, we see an animated human figure evolve, grow a spike-y mohawk, and change colors.

EXPERIENCE

The experience is very futuristic, it’s like living a game but then in the real world.

LINKS

http://cassetteplaya.com

http://thecreatorsproject.vice.com/cassette-playa/cassette-playa-aw1011-neuromance-augmented-reality-presentation#ooid=l1a2pqMToiYUk7V2R-pHLQc3pNWaWGP9

http://thecreatorsproject.vice.com/blog/designer-carrie-munden-explore-the-tribal-aspect-of-punk-using-3d-modeling

http://thecreatorsproject.vice.com/creators/cassette-playa

 

Schermafbeelding 2014-03-28 om 14.47.09

FILL SHAPES

http://claudiamate.com/2013/projects/fill-shapes/

 

MATERIALS

processing

TECHNOLOGY

Claudia past processing toe op een visuele als wel auditieve manier toe. Door middel van codes creeert ze dus beeld en geluid.

EFFECT

Hierdoor krijgt de toeschouwer een beeld van wat zij wil laten zien, maar daarnaast ook een geluid dat daarbij past volgens diezelfde codes.