Schedule MAT251 01F
Refs: Lynn, Weinbren, Art+Com, Alouieni
data as material
2 look at images of graham Weinbren's sensor controlled installation at UC Irvine.
3 Art + Com, Ammar Elouini
4 Review some key topics form last week's UC DARNET DIGITAL MEDIA conferences.
Examples
natzke yugop praystation singlecell
daily webdesign news or magazines
newstoday surfstation linkdup shift freshfoot omnibus
swiss-german-english grafik design
burodestruct designershock thedesignersrepublic designbybuild
webdesign
designgraphik submethod ximeralabs subakt
moving images
belief gmunk
books
magmabooks gingkopress
students meetings
nov 26: This is Week 10. Marko is here nov 26-dec 2 if anyone wants to meet with him
dec 03: This is Week 11.
dec 10: This is Week 12.
I have had regular meetings with Xin, Ayoub, Gilry/Andi team
I have met briefly with Annie, Graham, Krisy
INIDIVIDUAL MEETING SCHEDULE
7:00pm Annie
7:30pm Brian
8:00pm Graham
8:30pm Kris
for anyone else, let's schedule for Monday 19 between: 3pm and 4pm/ Please let me know.
COURSE GRADING & CONDITIONS
The course evaluation will be on the basis of the work you present on December 10.
1 the project must be interactive using the camera sensing technique in estudio
2 there must be a concept and visualization solutions
3 I Page Description in HTML: Deliver to me and Andi a 1 page description with Title, References and an image. The description should define the concept and provide details of what your installation investigates. This will go online in the course description. The visualization can be a combination of still image, outline and QT movie.
September 28 through November 18, 2001
Inspired by the Arnold Schwarzenegger movie of the same name, The Predator, made of silkscreened and painted vacuformed plastic, is a painting/architecture mutant hybrid that transforms filmic special effects into effects of painting and architecture. The piece was designed digitally with animation software and then manufactured with computer-assisted processes. It is accompanied by a custom music mix by DJ Spooky.
Both leading innovators in their fields, Fabian Marcaccio is an Argentine painter living in New York and Greg Lynn practices in Los Angeles. Marcaccio and Lynn share a great deal in theory, intention, and approach. Each is concerned with embodying animate-time in the objects he produces, without literally representing that time by showing motion as narrative. Each also sees in advanced digital technology the cultural, technical, and intellectual opportunities to work with the animate-time problem. This dialogue, distinguished form the traditional terms of previous cross-disciplinary efforts, forms the basis for an ongoing series of collaborations.
In his own work, Marcaccio uses computer graphics techniques to create small, unresolved threads of narrative sequences; scale and spatial contractions and expansions across both horizontal field and the shallow trans-section of painterly space; and materialized gesture to transform his paintings into arrested turbulences. Almost unbearable ecstatic-erotic tensions result. In Lynn's own work, animation software and computer-assisted manufacturing are joined to build previously unimagined (and unbuildable) voluptuous forms whose every cubic micro-centimeter pulses and throbs with the formal legacy of life. His resulting alien-organism-as-architecture shimmers and glistens in the light and rain with uncanny iridescence and other specular effects.
In their collaborations, the two attempt to interbreed these two species, to formulate and construct a new species, a painting/architecture hybrid. The Predator is the second installment in a series that began with The Tingler, their first joint effort, for the Secession Gallery in Vienna. Where The Tingler introduced the two parent species and moved them toward their initial coupling, The Predator unveils the progeny of that event, a hybrid, both and neither painting nor architecture--not just a new genre of art object, but a new spectacular, vigorous, vitalist organism.
This exhibition was organized by the Wexner Center for the Arts at The Ohio State University. The exhibition is presented with the support of the Greater Columbus Arts Council and the Wexner Center Foundation. Additional support is provided by the Wexner Center for the Arts Residency Award program, Joyce and Charles Shenk, and the National Endowment for the Arts. Special thanks to Warner Bros. Studios Scenic Art Department. The Irvine showing is supported by the Beall Family Foundation and the Claire Trevor School of the Arts.
