"Most camouflage is based on the idea of concealment and blending in with its surroundings. However another school of thought has argued for making the item in question appear to be a mashup of unrelated components. Naval camoufleurs found this theory particularly appealing. Blending didnít work because ships operated in two different and constantly changing color environments - sea and sky. Any camo that concealed in one environment was usually spectacularly conspicuous in others.
Norman Wilkinson, a British naval officer and painter, suggested a scheme that came to be known as Dazzle or Razzle Dazzle painting. Wilkinson believed that breaking up a shipís silhouette with brightly contrasting geometric designs would make it harder for U-boat captains to determine the shipís course."
(FoundNYC Inc, 4 April 2009)
An "ever growing collection of Channel 4 current set of idents. The simple idea that flows through all these idents is the creation of 'the 4, be it optical illusion, supernatural intervention or coincidence, the iconic Channel 4 logo rears its head at some point during all these videos.
The basic premise leaves open many possibilities to play with, which perhaps also explains the longevity that these idents retain. New idents continue to be produced by Channel 4"
(John Beohm, idents.tv)
"Gestalt is a psychology term which means 'unified whole'. It refers to theories of visual perception developed by German psychologists in the 1920s. These theories attempt to describe how people tend to organize visual elements into groups or unified wholes when certain principles are applied."
(Spokane Falls Community College)
New York debut of Anne Morgan Spalter
@ Stephan Stoyano/LuxeGallery
November 29, 2011- January 6, 2012
"Stephan Stoyanov/Luxe Gallery is pleased to announce the inaugural New York City solo show of Anne Morgan Spalter, a new-media pioneer who initiated and taught the first fine arts new media courses at the Rhode Island School of Design (RISD) in 1990 and Brown University in 1992. Spalterís exhibition, Traffic Circle, is a milestone in her two-decade odyssey in integrating art and technology. Spalter draws on centuries of work in the landscape genre but brings a new perspective on the modern landscape.
With works created exclusively for this exhibition, Spalter introduces geometrically patterned video works generated from footage she shoots in traffic, from aerial perches, at airports, and on the highway. Several pieces feature iconic New York City landmarks such as Rockefeller Center. The rhythmically structured compositions isolate or abstract features and motion of the landscape, highlighting the passage of taxis down 5th Avenue, for example, and the soaring of planes on takeoff. Inspired by her mathematical background and interest in Islamic art, she uses a symmetrical kaleidoscopic framework to brings order to complexity.
Spalterís art has explored the concept of the 'modern landscape' since first shown publicly at the deCordova Museum in 1992. She draws on her travels and her digital photographic and video database to create still and moving pieces. Works are realized as prints, intimate screen-based works, and large-scale screen and projection works: her work was shown this past summer at Big Screen Plazaís 30-foot LCD screen in New York City as part of Leaders in Software Art (LISA) and at the RISD Museum of Artís Open Call Video Art Screening Program."
(Anne Morgan Spalter)
5). Exhibition Press Release.