Archive for the ‘art – tm’ Category
When you think of "new romantics" and "internet" the first thing that probably comes to mind is goth girls posing in cemeteries.
Possibly that wasn't the first thing that popped into the heads of the curators of Eyebeam's upcoming exhibit with the unapologetic title, The New Romantics. "Just as the Romantics responded to the industrial revolution," the curators postulate, "this group of artists are similarly responding to the current information revolution."
Ever since William Gibson envisioned Haitian voodoo spirits inhabiting cyberspace, writers have been trying to depict computers and the internet as something other than what they are: soulless cold environments created by nerds to be inhabited by other nerds. The internet is the domain of numbers, statistics, menus, and multiple choice tests. The only way to imagine it otherwise might be something like David Cronenberg's fleshy "game pods" that attach to your spine with an umbilical: a "dream space out of meat space" governed by murky synaptical potentials rather than precise silicon robotics. In the real cyberspace we inhabit, however, no amount of pouty romantic acting out can overcome that it's going to be converted to pixels and aiff files and reproduced on a page where it will be tabulated with like counts and stored with thousands of other similar expressions.
a larger version of my new romantic drawing above appears on Computers Club Drawing Society
jpeg of MSPaint rendering, 2014
The Windows 7 Paint has a colored pencil tool that's not bad for shading -- I used it quite a bit here in the "gradated" areas.
That "improved" MSPaint now has intriguing contradictions: the new brush-like, pen-like, and crayon-like tools can still be used with old legacy pixel lines.
What I've been thinking of as a creative clash of visual rhetorics may be the endgame or death-throes of a certain type of digital imaging, if Jon Williams is prescient in his call to "End Raster Art Now."
In 25 words or less, web imaging is moving towards a vector model, where angles and curves draw mathematically, as opposed to the raster model, where art is a function of pixels and grain.
Adobe Illustrator is vector, Photoshop is raster. Vector has a tendency to reduce images to smooth gradients, without bite, tooth, or grit. Also, screens are still pixel-based, so vector is ultimately converted back to pixel. That is not efficient or minimal. So I think it's permissible to keep exploring contradictions within raster, using familiar forms from painting (Cubist faceting of space) and pixel art (lines and loops).
still drawing monsters (a career-killer for any serious artist but you can't make me stop). I think the OptiDisc gif was rooted in these little circles that litter every piece of paper I come in contact with.
Screenshot of video frame (detail):
Jules asked, "is this your net art?" Yeah, man, this is postNastyNets art where we condescend to an innocent YouTube uploader sharing a cool glitched zombie from a shooter game. But seriously, the zombie that somehow became surrealistically mingled with a communications tower, so that it stretched far up into the sky, appears strange and beautiful in an environment of tawdry, unrelenting commercial bleakness. As the program notes for this net art explain, "The shooter's POV ascends briefly to determine if this is enemy or architecture."
In the screenshot above, the zombie is visible in the upper left of the frame. In the clip, the "camera" swings around and studies the zombie sculpture from a moving, ground-based position. Very quickly, lest the other zombies catch up and eat the viewer. Then, once around the industrial wasteland, and back for a second view. On the second pass, a bizarre bird-thing can be seen hanging frozen in air next to the sculpture.
carjackcker posted a GIF of Storm, from the X-Men, looking strangely bulbous and flying around in a circle in the sky. The frame below grabbed my eye, for the way its extreme foreshortening turned the character into an almost-abstract blob. Originally I had her centered against a blank sky background but then decided to overlay her over something. Fishing around my hard drive I found a frame from a topologically distorted version of my blog logo (blogo?) that someone (apologies for the dropped attribution) made a while back. Many of the colors were the same, and the distortions of the figure and background seemed to resonate. The jagged pixel edges, a byproduct of transparentizing the original background, "expose the seams" for an added touch of self-referential authenticity. [/gratuitous exegesis]
My contribution to the wendypaint.com genre (or as dumper "peggy" calls it, wendyvanitypaint).
On the plus side I like the combination of paint strokes with photocollage, or videocollage. (The gradients from all the dragging create a 3D effect that looks like cut up photos to me.)
On the minus side, these rubber-stamp or photoshop-brush style brushes are awfully clumsy. I searched for a way to shrink them to pencil width for some finer lines but couldn't figure out how to do it.
Also, couldn't figure out how to add my image to the "stream" so better hedge a prior statement about this site partaking of the "social" scene. It's possible that Kim Asendorf is "curating" the stream -- drop me an email if that's not so. [Update: Users publish to the "stream" by checking a small unidentified box with no "submit" button, leaving the drawing page, and praying to whatever deity or deities they worship -- should have known that, whoops]
Various dumpers were playing around with Kim Asendorf's wendypaint.com website, created for The Wrong digital biennale. It's a pixel-y art platform where you can "make brushes" out of images or icons and drag them around to leave MSPaint-like trails. It reminded me about canvas painter, which I hadn't used in a while.
With wendypaint, Asendorf adds the all-important social dimension in that a community develops of wendypainters all sharing and archiving their drawings. This increases the likelihood of coverage on the "art and technology" websites, and of Asendorf being praised for circulationism, dispersion, and all the rest of that social utilitarian rhetoric.
The modest little canvas painter, while more "open source" than Asendorf's project, nevertheless lacks "social," bringing it closer to the dreaded hermeticism, that bugbear of new media prognosticators. Years ago I said Nasty Nets wasn't really social, because people just posted stuff and didn't talk about it all that much, which drew the ire of Marisa Olson, who informed me that all manner of back channel discussion was happening about Nasty Nets posts via chat and email (that implicitly, I had been excluded from -- nice).
"physical" / "digital" aren't antonymic, dumbass --Jon Williams, twitter
From the Wikipedians.
The real name of this photo is "Steinbichler Shearography Honeycomb with CFRP Top Layer Artificial failures that simulate layer- core delaminations Material Top view.jpg"