Folksonomy | Illusionistic Images is a structured repository of digital culture and creative practice. en-au Creative Commons License: (cc), Simon Perkins Wed, 16 Mar 2016 08:48:56 +1000 Wed, 16 Mar 2016 08:48:56 +1000 Constellations 2.0 60 Lucea kinetic sculpture by artist Anthony Howe Wed, 16 Mar 2016 08:48:56 +1000 Light projection works by American artist James Turrell For over half a century the American artist James Turrell has worked directly with light and space to create artworks that engage viewers with the limits and wonder of human perception Turrell often cites the Parable of Plato s Cave to introduce the notion that we are living in a reality of our own creation subject to our human sensory limitations as well as contextual and cultural norms This is evident in Turrell s over eighty Skyspaces chambers with an aperture in the ceiling open to the sky The simple act of witnessing the sky from within a Turrell Skyspace notably at dawn and dusk reveals how we internally create the colors we see and thus our perceived reality Turrell s medium is pure light He says My work has no object no image and no focus With no object no image and no focus what are you looking at You are looking at you looking What is important to me is to create an experience of wordless thought Wed, 04 Nov 2015 12:22:41 +1000 Ephemeral Media temporal programmatic recombinatory practice Kuleshov s insights gave voice to a temporal recombinatory practice that is older than the film medium evident for example in nineteenth-century programming of magiclantern exhibitions where showmen learned to build ndash and to rework ndash stories from the slides that they happened to have But these early practices particularly as they appeared through film s first decade or so actually made use of recombinatory logic in a double sense First in the hands of film-makers such as Edwin S Porter and D W Griffith the sequence of shots was manipulated to construct overall textual meaning just as Kuleshov would later theorise and experimentally demonstrate Second the positioning of the films of Porter Griffiths and others into full programmes complete with lantern slides actualit eacute s and other narratives could itself radically transform the meanings of individual films Here the programmer usually the projectionist could through simple manipulation of film sequence comment upon or build different frameworks of coherence for a particular film This metalevel of recombination was not discussed by Kuleshov and indeed largely took residual form in exhibition practice But it was seized upon by television and radio where programmatic recombination would emerge as the economic lifeblood of the industry in the form of the rerun And it provides one of the keys to television s distinctive deployment of ephemeral programme elements Television s programming logics turn on a triad of organisational principles when it comes to texts ephemeral and not sequence interpenetration and repetition William Uricchio 2011 2 Derek Kompare 2005 offers an excellent overview of this practice William Uricchio The Recurrent the Recombinatory and the Ephemeral in Paul Grainge ed Ephemeral Media Transitory Screen Culture from Television to YouTube London British Film Institute Palgrave MacMillan 2011 23-36 http www palgrave com page detail ephemeral-media-paul-grainge isb 9781844574353 Fri, 30 Oct 2015 19:40:50 +1000 David Cross A Question of Trust visceral and embodied experience Sun, 11 Oct 2015 10:57:33 +1000 Loophole Cinema artist collective exploring film in an expanded form 1989 -1998 A collective of artists specialising in large scale installation and performance work usually of a site specific nature Sat, 21 Mar 2015 12:30:10 +1000 Eye Appeal Spectacle on Stage and in Life From ancient times to the present spectacle the visual aspects of human performance ndash architecture scenery costumes makeup lighting special effects and staging has been used to expressively embody and evoke meaning in rituals ceremonies and artistic performances This course Eye Appeal Spectacle on Stage and in Life at The University of North Carolina at Greensboro will examine the use of spectacle as an expressive mode of communication in human performance from antiquity to the present Bob Hansen 2004 Sun, 22 Feb 2015 22:16:51 +1000 Shocking augmented reality experience greets London commuters Pepsi Max has gone straight to the top of this week s Viral Video Chart with its unbelievable bus shelter which hoodwinked Londoners into thinking they were witnessing everything from an alien invasion to a loose tiger running in their direction The drinks brand rigged up a bus stop in the middle of central London with convincing digital technology which gave commuters the allusion that they were looking through a pane of glass to the world outside when really they were seeing a digital display A variety of awesome effects were then played onto the display to give the unsuspecting victims a fright Staff Writer 27 March 2014 The Drum Thu, 13 Nov 2014 23:07:20 +1000 Design agency Seismik uses moir eacute pattern to clever effect The packaged printed grill gives people the power of transformation through movement The outer packaging with its printed grid means as soon as people pull the insert out it will cause the effect without instruction needed As well as the primary kinetic piece on each side there is a secondary more subtle one in the background Nottingham design agency Seismik Fri, 10 Oct 2014 08:41:36 +1000 Bernard Pras the perceptual organisation of found objects Bernard Pras is a French painter photographer and sculptor He has spent more than 20 years perfecting his craft One of his more recent body of work feature sculptures of pop icons made entirely out of found objects which when viewed from a specific angle transforms into an easily recognizable image His subjects include Albert Einstein Jack Nicholson Bob Marley Mao Zedong Uncle Sam and Che Guevarra His inspirations include Salvador Dali Edvard Munch Japanese woodcut artist Hiroshige and Guiseppe Arcimboldo Sun, 29 Jun 2014 08:45:49 +1000 Pierre H eacute bert Around Perception 1968 Around Perception is a groundbreaking experiment on computer ndash based animation consisting of 11 audiovisual events designed to baffle cognition and unrest comfortable notions of reality Unlike most of his later films H eacute bert chose not to collaborate with top ndash notch experimental musicians and created the soundtrack himself In this he followed a method also used by Norman McLaren to scratch sound directly onto the film itself The relation between sound and picture however is not as symbiotic as in McLaren s Synchromy although there are organic reactions between the two domains one is not a direct translation of the other This of course need not be seen as a weakness Indeed with its fast ndash paced changes of color and geometrical patterns and the employment of Columbia ndash like richly crafted electronic tones Around Perception works as a tremendously hallucinatory exercise in trompe l oeil and l oreille techniques Or as stated by H eacute bert himself at the beginning of the film an exercise for the mind and against the mind The Sound of Eye Fig 1 Around Perception Director Pierre H eacute bert Year 1968 Time 16 mins Music Pierre H eacute bert Thu, 06 Feb 2014 20:12:42 +1000 Energizing corporate culture through industrial musicals Fri, 17 Jan 2014 09:37:38 +1000 Czech Film Posters of the 1960s The birth of the Czech creative film poster phenomenon in the early sixties can be credited to Karel Vaca Karel Teissig Richard Fremund Vladimir Tesar Jiri Balcar Jaroslav Fiser Zdenek Ziegler Milan Grygar Bedrich Dlouhy Zdenek Palcr and others In the late sixties and during the seventies they were joined by Josef Vyletal Olga Polackova ndash Vyletalova Jiri Rathousky Alexej Jaros Karel Machalek Petr Pos Jiri Salamoun Vratislav Hlavaty Zdenek Vlach and Antonin Sladek In the streets but soon also at film festival exhibitions in art galleries and cinema premises Czech film poster rapidly won the favor of the public for its creative imagination poetic and lyrical atmosphere It was characteristic by the use of collage rollage photomontage retouching striking graphic designs wity typographic visual puns and surrealist dreamy interpretation Mass reproductions of works of art flooded the billboards in towns and cities and changed them into sidewalk open air galleries In the course of the 1960s Czech film poster designers found inspiration in the informal style applying its forms of structural abstraction and lettrism later on in pop ndash art and op ndash art using the then popular psychedelic forms and colors Artists frequently employed styles inspired by the film forms such as enlarged close ndash up merging of symbolic and metaphoric visual levels and repeated details Marta Sylvestrova Museu de Arte de Macau Thu, 11 Jul 2013 17:42:33 +1000 The Senster pioneering cybernetic sculpture The Senster commissioned by the electronics giant Philips for their permanent showplace the Evoluon in Eindhoven was a much bigger and more ambitious piece of work than SAM In addition to responding to people s voices the Senster also responded to their movements which it detected by means of radar and was as far as I know the first robotic sculpture to be controlled by a computer It was unveiled in 1970 and remained on permanent show until 1974 when it was dismantled Its size ndash it was over 15 feet 4 m long and could reach as high into the air ndash made the use of aluminium castings inappropriate so it was welded out of steel tubing with the castings employed only in the more intricate microphone positioning mechanism Its behaviour controlled by a computer was much more subtle than SAM s but still fairly simple The microphones would locate the direction of any predominant sound and home in on it rather like SAM but much more efficiently and the rest of the structure would follow them in stages if the sound persisted Sudden movements or loud noises would make it shy away The complicated acoustics of the hall and the completely unpredictable behaviour of the public made the Senster s movements seem a lot more sophisticated than they actually were It soon became obvious that it was that behaviour and not anything in its appearance which was responsble for the impact which the Senster undoubtedly had on the audience Aleksandar Zivanovic Tue, 04 Jun 2013 08:47:51 +1000 The 2013 Kinetica Art Fair Illusion and Reality Kinetica Art Fair 2013 February 28th ndash March 3rd 2013 Ambika P3 35 Marylebone Road NW1 5LS London UK The Kinetica feature exhibition and events programme is themed on Illusion and Reality and the thin veil that divides what is real and perceived The exhibition will focus on perceptions of reality with works by 19 international artists exploring the many dimensions of illusion The exhibition aims to challenge ideas on what is real perceived or imagined and focuses on transformation metamorphism visual paradox vibration nature the subliminal and the subconscious The exhibition includes a huge interactive light sculpture from Dutch artist Titia Ex an exoskeleton hybrid of man ndash animal ndash machine by Christiann Zwanniken and a giant three dimensional zoetrope by Greg Barsamian The boundaries between reality and illusion will be explored in a series of live performances using the Musion holographic projection system and features an international line ndash up including the award ndash winning audiovisual collective Origamibiro a fusion of 3d imaging and quantum mechanics in danceroom Spectroscopy a hypnotic audiovisual experience from Simulacrum and multi ndash sensory Polish collective INIRE The Musion Academy will present a further series of captivating performances including Analema Group AV3 IEOIE and Paul Prudence Key figures and eminent pioneers in the fields of new media art and neurosciences have been invited to participate in a daily programme of Talks which also features presentations by experimental artists exhibiting at the Fair Kinetica Museum UK Tue, 12 Feb 2013 19:48:04 +1000 Anemic Cinema 1926 by Marcel Duchamp This characteristically dada film by Marcel Duchamp consists of a series of visual and verbal puns with nonsense phrases inscribed around rotating spiral patterns creating an almost hypnotic effect Silent Anemic Cinema various versions were made in 1920 1923 and finally in 1926 Essentially a film by Duchamp with help from Man Ray Calvin Tomkins Duchamp used the initial payment on his inheritance to make a film and to go into the art business The film shot in Man Ray s studio with the help of cinematographer Marc All eacute gret was a seven ndash minute animation of nine punning phrases by Rrose S eacute lavy These had been pasted letter by letter in a spiral pattern on round black discs that were then glued to phonograph records the slowly revolving texts alternate with shots of Duchamp s Discs Bearing Spirals ten abstract designs whose turning makes them appear to move backward and forward in an erotic rhythm The little film which Duchamp called Anemic Cinema had its premiere that August at a private screening room in Paris UbuWeb Marcel Duchamp 1926 An eacute mic Cin eacute ma 7 minutes B amp W Thu, 24 Jan 2013 21:32:39 +1000