The computer art that’s described in this book is very different. That is, it involved no aesthetic judgements on its creators’ part. But that code wasn’t intrinsically connected with the specific nature of any of the artworks that would be produced with its help. Years ago, to be sure, Adobe’s professional programmers created (sic) the then-novel code that would eventually enable anyone to buy it off the shelf and use it in their own art-making. Photoshop can be-and has been-used to produce images of indefinitely many different styles. Even more to the point, the novelty, skill, and creativity-and the aesthetic judgements- evident in the huge images hanging on the Academy’s walls aren’t due to, or even reflected in, the software as such. “And what’s wrong with that?”- Well, Hockney’s software is due to Adobe and Apple, not to Hockney himself. Hockney used Brushes, for example, to move and blend colours, and-using his fingers on the tiny screen-to draw lines of varying thickness on the developing image.Īn unhappy coincidence, however, in that Hockney’s fame, alongside the critical success of this particular exhibition, will very likely lead people to think that his latest work is an iconic example of computer art. For the “bigger pictures” that inspired the exhibition’s title weren’t produced with Hock- ney’s oils, paintbrush, and easel, but with the help of computer software designed for colour graphics-specifically, Adobe’s Photoshop and the iPad’s app Brushes. This effectively puts paid to the all-too- common view that creative art cannot depend in any way on computers. It’s a happy-or perhaps an unhappy-coincidence that the book is going to press only a couple of weeks after the opening of David Hockney’s one-man exhibition, “A Bigger Picture”, at the Royal Academy of Arts in London.Ī happy coincidence, in that such a famous traditional artist has chosen to link his most recent work with computers so publicly, and-according to the many favourable reviews-so successfully. If I had to pick just one point out of this richly intriguing book, it would be some- thing that the editors stress in their introduction: that these examples of computer art involve creative computing as well as creative art. Springer is part of Springer Science+Business Media (ISBN 978-7-9 (eBook) The publisher makes no warranty, express or implied, with respect to the material contained herein. While the advice and information in this book are believed to be true and accurate at the date of pub- lication, neither the authors nor the editors nor the publisher can accept any legal responsibility for any errors or omissions that may be made. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The use of general descriptive names, registered names, trademarks, service marks, etc. Violations are liable to prosecution under the respective Copyright Law. Permissions for use may be obtained through RightsLink at the Copyright Clearance Center. Duplication of this publication or parts thereof is permitted only under the provisions of the Copyright Law of the Publisher’s location, in its current version, and permission for use must always be obtained from Springer. Exempted from this legal reservation are brief excerpts in connection with reviews or scholarly analysis or material supplied specifically for the purpose of being entered and executed on a computer system, for exclusive use by the purchaser of the work. All rights are reserved by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. Library of Congress Control Number: 2012946745 ACM Computing Classification (1998): I.2, J.5 Springer Heidelberg New York Dordrecht London Faculty of Information Technology Monash UniversityĬomputing Department Goldsmiths, University of London New Cross, London
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