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Topic: The Contemporary Fine Art Interface? (Read 637 times) |
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Mark Hill
 
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The Contemporary Fine Art Interface?
« on: Feb 3rd, 2005, 2:13pm » |
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I'm currently writing image-processing algorithms for use by fine art practitioners in studio-based practices.
My view is that by situating technology directly within the firing line, between the observer and the observed, as somehow implicated within the creative process as part of both seeing and representing, gives a greater opportunity to arrive at a fuller understanding of technology's l significance.
The aim is to obtain unique visual information about the subject, imperceptible and perhaps even unknowable to the otherwise unaided human eye. It is certain that the application of technology influences visual perception, and it is perhaps only through localizing technology, by making it a lens through which to observe, that we can further understand it.
The image processing algorithm is a useful interface/ interstice capable of contributing to a technological ontology(). My particular interest is in how traditional fine art practitioners can access new technology (processing!) to extend their practice in other mediums.
I personally emphasize the drawing process as an in-road to more specfic mediums, and also the one capable of registering subtle individual and social changes.
I've posted some of the code I've written over the last few months here:
www.mark-hill.co.uk
I am interested in anyone who might wish to contribute algorithms (code etc.) as well as information on art works derived from a similar position. Mine are limited to a real-time (close as possible!) video signal.
I interested in the distinction between visual effect and new information, and if there is one in this context
Thanks.
P.S This is in partial response to this thread (how to attract artists and designers to P5):
http://processing.org/discourse/yabb/board_general_action_displ_ay_num_1061142566.html
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