L'art Génératif. Complements to the book text
Return to summmary. See Index
2.5. Cinema and animation
2.5.1. Introduction
Basically, cinema (Louis Lumière way), is based on a couple of correlated automata : camera and projector. The artist works mainly in the first phase of design (screenplay, storyboard), partly during production (filming), stronglin in editing. Then, the works escapes his ands, and the generativity, in presence of an audience, is mainly the work of the projection devices, with the aid of the projectionist.
See digital animation, cinema, television, video
About Melies, the documentation is rich. See of course Wikipedia for a start.
A dancer by Michel Bret
2.5.2. Michel Bret, artificial women
2.5.3. Philippe Galanter, a thinker, but an artist also
2.5.4. Christa Sommerer and Laurent Mignonneau
Christa Sommerer and Laurent Mignonneau
They are mostly taken to interfaces, as show the mere title of their books :- Interactive Art Research, with aDVD. (Sommerer, 2009),
- The Art and Science of Interface and Interaction Design (Sommerer, 2008) (Sommerer, 2008),
- Interface Cultures, Artistic Aspects of Interaction (Sommerer, 2008).
2.5.5. Driessens et Verstappen : cellular automata
2.5.6. Tom Demeyer : ImX
2.5.7. Dave Griffiths
2.5.8. Joseph Nechvatal : viral art
2.5.9. San Base : dynamic painting
His website.
2.5.10. Douglas Edric Stanley
- Diccan notice.
- 12.00, installation around the film High Noon, of Fred Zinneman (Wikipedia)
2.5.11. Lev Manovich : soft cinema
2.5.12. Antoine Schmitt : the radical transfer
2.5.13. Ben Fry
2.5.14. Casey Reas
2.5.15. Anne-Sarah Le Meur
2.5.16. Servovalve : emergence
2.5.17. Alain Lioret, Beings series
2.5.18. Troy, Watz et others, a world of animated images and sounds
Innocent Troy
Marius Watz
Jeffrey Ventrella
Jean-Claude Heudin
Scott Draves
Megan Galbraith, a disciple of John Maeda. (not Galgraith, as erroneously written in the book).
Simon Greenwold
Peter Cho
Elise Co
Rob Lovell and John Mitchell.