Az első alkotó egy mai fiú: Low North.
You pixel-per-pixel mapping of an audio track:
Black Noise White Silence from Low North on Vimeo.
You pixel-per-pixel mapping of an audio track:
Black Noise White Silence from Low North on Vimeo.
Low Northnak ez a munkája tiszteletadás Lillian Schwartz előtt, akinek egy 1970-es fílmje következik.
Low North pay homage to Lillian Schwartz. Here’s one of her seminal films - Pixillation (1970):
Ez a 38 évvel ezelötti darab az első volt a digitális fílmek közül, amit műalkotásként elfogadtak. Ennek eredményeként Lillian Schwartz a Bell Laboratories tanácsadója és kutatója lett.
This nearly 30 years ago, Pixillation was one of the first digital films to be shown as a work of art.
It was the result of groundbreaking work by Lillian Schwartz as a consultant and researcher in visual and colour perception at Bell Laboratories.
As she says in The Computer Artists’ Handbook:
“A computer can have (be!) an unlimited supply of brushes, colors, textures, shadings, and rules of perspective and three-dimensional geometry. It can be used to design a work of art or to control a kinetic sculpture.”
But Ken Knowlton, her Bell Labs colleague and author of the BEF LIX (Bell Flix) animation programme, spoke of a troubling dichotomy. Whereas artists - human animators - were “intuitive… sensitive and vulnerable”, programmers were “constricted… cold and inscrutable”.
Néhány évvel korábban John Whitney:
Like Lillian Schwartz, John Whitney has immense stature in the history of the digital arts. He’s sometimes credited (see the Wiki) as one of the fathers of computer animation. And his vision was simple:
“Above all, I want to demonstrate that electronic music and electronic colour-in-action combine to make an inseparable whole that is much greater than the parts.”
In the 1980s, Whitney was responsible for the invention of an AV “synthesizer for the future”, the Whitney-Reed RDTD. But earlier in his career he worked with Saul Bass on title sequence for Vertigo (1958).
Az elektrónika, a digitalizáció, a számítógép elötti időből való Oskar Fischinger Optikai költeméne, 1940-ből. Meglepő, hogy a látvány, a gondolkodás mennyire mai.
Imagine Whitney’s vision pre-electronic. Pre-computers. When you watch the minutely synchopated animation of Fantasia (1940), for example, you don’t imagine a computer in sight. You might, however, when you watch Oskar Fischinger’s Optical Poem - because it has that level of detail and timing:
An Optical Poem (1938) from plasticsheep on Vimeo.
Fischinger rajzfilmkészítőként Disneynél dolgozott. Faszenet és papírt használt a korai munkáiban. Közben játszott színes folyadékokkal és egy "Wax Slicing Machine"-nal ( hogy ez mi lehet?:) ), és feltalálta a Lumigraphot (fényorgonát) 1950-ben.
As the date will tell you, this animation involved no computer. Fischinger worked for Disney as an animator on Fantasia. He’d used charcoal-on-paper for his early works. He’d played with coloured liquids and a “Wax Slicing Machine” in between, and invented the Lumigraph (a colour organ) in 1950.
A dadaista Hans Richter 1920-ban készítette fílmjét. Itt igazában nem beszélhetünk audió vezérelt látványról, hiszen még csak némafílm létezett, de a koncepció tettenérhető. ( A zenét valaki később kreálta hozzá, ez a stílusán is hallatszik. )
Some of the most visionary animators and filmmakers of the pre-digital era laboured with incredible precision to synchronize visuals with music. There’s a separate strand of film history - one that competed against narrative cinema, the talkie, but appeared to have lost.
You’ll see origins of this battle in the early 1920s, with films by the Dadaists and particularly Hans Richter.
Ha többre vagy kíváncsi a témából, akkor látogass el a Center for Visual Music oldalra!
Feel like some more? Check out the Center for Visual Music.
Low North pay homage to Lillian Schwartz. Here’s one of her seminal films - Pixillation (1970):
Ez a 38 évvel ezelötti darab az első volt a digitális fílmek közül, amit műalkotásként elfogadtak. Ennek eredményeként Lillian Schwartz a Bell Laboratories tanácsadója és kutatója lett.
This nearly 30 years ago, Pixillation was one of the first digital films to be shown as a work of art.
It was the result of groundbreaking work by Lillian Schwartz as a consultant and researcher in visual and colour perception at Bell Laboratories.
As she says in The Computer Artists’ Handbook:
“A computer can have (be!) an unlimited supply of brushes, colors, textures, shadings, and rules of perspective and three-dimensional geometry. It can be used to design a work of art or to control a kinetic sculpture.”
But Ken Knowlton, her Bell Labs colleague and author of the BEF LIX (Bell Flix) animation programme, spoke of a troubling dichotomy. Whereas artists - human animators - were “intuitive… sensitive and vulnerable”, programmers were “constricted… cold and inscrutable”.
Néhány évvel korábban John Whitney:
Like Lillian Schwartz, John Whitney has immense stature in the history of the digital arts. He’s sometimes credited (see the Wiki) as one of the fathers of computer animation. And his vision was simple:
“Above all, I want to demonstrate that electronic music and electronic colour-in-action combine to make an inseparable whole that is much greater than the parts.”
In the 1980s, Whitney was responsible for the invention of an AV “synthesizer for the future”, the Whitney-Reed RDTD. But earlier in his career he worked with Saul Bass on title sequence for Vertigo (1958).
Az elektrónika, a digitalizáció, a számítógép elötti időből való Oskar Fischinger Optikai költeméne, 1940-ből. Meglepő, hogy a látvány, a gondolkodás mennyire mai.
Imagine Whitney’s vision pre-electronic. Pre-computers. When you watch the minutely synchopated animation of Fantasia (1940), for example, you don’t imagine a computer in sight. You might, however, when you watch Oskar Fischinger’s Optical Poem - because it has that level of detail and timing:
An Optical Poem (1938) from plasticsheep on Vimeo.
Fischinger rajzfilmkészítőként Disneynél dolgozott. Faszenet és papírt használt a korai munkáiban. Közben játszott színes folyadékokkal és egy "Wax Slicing Machine"-nal ( hogy ez mi lehet?:) ), és feltalálta a Lumigraphot (fényorgonát) 1950-ben.
As the date will tell you, this animation involved no computer. Fischinger worked for Disney as an animator on Fantasia. He’d used charcoal-on-paper for his early works. He’d played with coloured liquids and a “Wax Slicing Machine” in between, and invented the Lumigraph (a colour organ) in 1950.
A dadaista Hans Richter 1920-ban készítette fílmjét. Itt igazában nem beszélhetünk audió vezérelt látványról, hiszen még csak némafílm létezett, de a koncepció tettenérhető. ( A zenét valaki később kreálta hozzá, ez a stílusán is hallatszik. )
Some of the most visionary animators and filmmakers of the pre-digital era laboured with incredible precision to synchronize visuals with music. There’s a separate strand of film history - one that competed against narrative cinema, the talkie, but appeared to have lost.
You’ll see origins of this battle in the early 1920s, with films by the Dadaists and particularly Hans Richter.
Ha többre vagy kíváncsi a témából, akkor látogass el a Center for Visual Music oldalra!
Feel like some more? Check out the Center for Visual Music.
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