This image has an unique dynamic light color and glow effect. The light source is generated from inside the elevator creating a contained closed feeling. The overall illumination creates a vignette that focuses the light on the elevator shaft and the boy. The outer edges are dark and lurer to a mysterious uncertainty. The black cats are the darkest silhouetted figures from the fore ground to the back. The cats lead the viewer threw the image with an ominous yet playful mannerism. Contrast between the elevator light and the cats bring the image to life attracting the eyes movement. Overall the main illumination is soft and ties the image together.

This is a tutorial in two parts that I’ve been working on. This quicktime is part 1 and runs about 2 min. I plan on creating a series of tutorials that sync together several hands on and software techniques. These will primarily focus on 4 major applications, Photoshop, Illustrator, After Effects and Final Cut Pro.

PART #1

PART #2

2010 D.T.O.

http://www.noisefold.com/

If you had the opportunity to experience another dimension in theory would you? Collaborative performance composed by David Stout and Cory Metcalf is the digital equivalency. A Gates Planetarium special noise fold envisions communication with supplementary image generated audio. An ambiance of 3D space frequencies constructs a microcosmic environment. The duet creates an alienist dialog between sound and image unlike any other. The theater is virtually transformed into a cybernetic simulation.

A science fiction theme builds on early electronic instruments like the sonic phone. These two artist programmers interact with visual music and noise made from invisible equations. Through a node base program they are able to interface with physical parameters. They built custom software using Max/Msp/Jitter in combination with Isadora. This networked interfacing allows them to manage multiple data sets. 3D object manipulation is done with electromagnetic and infrared sensors. This process is translated in real time through multiple switches and amplifiers. The software mathematically visualizes algorithmic patterns by transcodes image to sound. An impressive incorporation of hardware and software used to explore creative artistic expression.

D.T.O.

This was a project done a few years ago that I find very motivational. The site is a great example of networking and map making. Cracks in the Pavement was started in Austin, Texas, in June 2004. The project featured site-specific works by 15 Austin-based and international artists both in Austin and in London, UK and was presented as part of the London Biennale 2004

http://cracksinthepavement.com/

The BFA thesis class had me going through my old art to find out what kind of artist I have become?
I came across this interesting piece I thought was lost from 1992

D.T.O.

A local artist I was introduced to in 1990 and have respected since. His site is up and running with his marvelous creations. The work responds to social issues of violence with abstract solutions. The functioning devices are restrictive, dangerous and empowering.

A glimpse of the Cremasteric Reflex Corset

http://www.shermansculpture.com

ENKI is a series of experiments concerning the ability of electric fish and humans to commune on the same level – that of electrical fields and brain waves – avoiding the use of language as such; instead stimulating a shared empathy through and actual physical connection. Using the bioelectric communication signals from live Electric Fish to control an immersive sensory environment for humans – through which the human can communicate back to the fish.

Check out other projects @ the site http://www.antonyhall.net/

This site is full of several visualizations of information in the graphical form. I thought these projects were interesting one dealing with physical space and the other with virtual. The site is a great source for ideas and research.

EyeBrowse: Record, Visualize and Share your Browser History

http://infosthetics.com/

A recent painting going in a new direction that is more expressive and inventive. The style reminds me of Turner from the romantic period.

D.T.O.

On the top left, the ‘read’ button opens a movie file using a standard ‘open’ dialog box. The file plays in the upper left window.Then the video information (which is actually a 4-layer matrix consisting of transparency, red, green and blue data) is downsampled to a 32 x 24 pixel grid.The next set of boxes, ‘jit.matrix 1 char 32…’ extract one row of the pixel data from the red, blue and green planes. You’ll see that the srcdimstart object is currently fed by the number 9, which means I’m using row 9 of pixel data to drive the chain.The extracted data is glued back together in a matrix 96 measuring 96 columns by 1 row. This shows up in the third black rectangle.The three boxes on top which contain the numbers ‘3 6 9 …’ are the DMX channel addresses. Each pixel sits at 3 consecutive DMX addresses. Finally, the color data is merged with the channel information and sent as a list to the DMXUSB object, which packs it up and sends it out the door to the USB-DMX interface. Very simple in retrospect.

This was created by John Chapman. I’m concidering something similar to use the DMX USB interface to tether a monome midi device with multiple video feeds.