maandag 8 september 2014

Digital Muscle Control Drawings (Visual Art by Computer-Controlled Human Gestures)

from the Institute of Artificial Art Amsterdam
This project involves a collaboration between the Department of Visual Art and the Department of ArtiFacial Expression. It produces automatic drawings by means of computer-controlled human gestures. The techniques developed for the project ArtiFacial Expression are used here to control the movements of the hands of a human person who has a piece of paper in one hand and a drawing pen in the other.
          First public demonstration
Art Academy, 's Hertogenbosch. Studium Generale, Change Your Mind. April 12, 1995.

maandag 18 augustus 2014

Metaphors of Objectlessness

Yves Klein

 from; The Chelsea Hotel Manifesto


Having rejected nothingness, I discovered the void.(..)
 ..That day, as I lay stretched upon the beach of Nice, I began to feel hatred for birds which flew back and forth across my blue sky, cloudless sky, because they tried to bore holes in my greatest and most beautiful work.

Birds must be eliminated.

International Klein Blue


zondag 11 mei 2014

Metaphors of Objectlessness

Theo van Doesburg

„Hammer and Saw”.


Het behoort tot de allereerste beginselen tot het hooren van muziek en het zien van beeldende kunst den titel slechts als aanleiding tot een gehoor- of zichtbare compositie te beschouwen.
Hetzelfde geldt voor deze „Hamer en zaag” van Vilmos Huszàr.

Vilmos Huszàr. composition(hammer and saw 1917)

Wat is voor den kunstenaar de hamer? Zijn functie: het hameren. Wat is voor den kunstenaar de zaag? Haar functie: het zagen.
(What is the hammer to the artist? It's fuction: the hammering. What is the saw to the artist? Her function: the sawing (my translation))

(..) De rechthoekige beeldingsruimte is met beweging gevuld, een beweging, die het summum is van de verticale hamer-bewegingen en de daartegen ingaande zaagbewegingen. Hier is dus een ander leven uitgedrukt dan het leven der natuur; n.l. het leven der beweging met exact beeldende middelen. Is dit werk uitsluitend visueel? Neen. Volstrekt niet. Visueel is slechts dàt werk ’t welk ontstaat uit een uitsluitend zintuigelijke waarneming. 1). Bij een uitsluitend zintuigelijke waarneming, heeft er geen proces plaats in de ziel van den kunstenaar. De esthetische ervaring is er echter een van het heele wezen. Bij het zien van het hameren en zagen maakte de kunstenaar die bewegingen psychisch mede. Door de exacte beelding van dit proces dwingt hij den beschouwer deze bewegingen esthetisch mede te leven. Dit is beeldende omzetting van de realiteit. Dit is realisme.

Theo van Doesburg 1918

Asemic Writing in Comics

Asemic writing as ‘bird sounds’.
 (peanuts; Charles M.Schulz)

Asemic writing as an interpretation of foreign language that the character can’t understand.
Bringing up father; George Mcmanus (1927)

Asemic writing as alien language, apparently  an unknown frequency  for a different type of receptor
Mickey Mouse and Eega Beeva; Bill Wash and Floyd Gottfredson (1947)

 Asemic writing as an indicator for brain damage, Possibly in the brocca area, maybe Wernicke's aphasia. Where A person speaks normally but uses random or invented words; leaves out key words; substitutes words or verb tenses, pronouns, or prepositions; and utters sentences that do not make sense. (wikipedia)
Alley oop; V.T.Hamlin (1973)

dinsdag 6 mei 2014

Programming with Grawlixes part 2

straight lines: not touching; Sol Lewitt

Wall Drawing #45 (1970)
Straight lines 10" (25 cm) long, not touching, covering the wall evenly.

Wall Drawing #65 (1971)
Lines not short, not straight, crossing and touching, drawn at random, using four colors, uniformly dispersed with maximum density, covering the entire surface of the wall.

Wall Drawing #152 (1973)
Three-part Drawing:
1st Wall: Straight horizontal lines.
2nd Wall: Not straight horizontal lines.
3rd Wall: Broken horizontal lines.
The lines are about two inches (5 cm) apart.

The artists conceives and plans the wall drawing.
 It is realized by draftsmen. (The artist can act as his own draftsman.)
The plan, written, spoken or a drawing, is interpreted by the draftsman.
There are decisions which the draftsman makes, within the
plan, as part of the plan.
 Each individual, being unique, given the same instructions would carry them out differently. He would understand them differently.
The artist must allow various interpretations of his plan.
The draftsman perceives the artist's plan, then reorders it to his own
experience and understanding.
The draftsman's contributions are unforeseen by the artist,
even if he, the artist, is the draftsman.
 Even if the same draftsman  followed the same plan twice, there would be two different works of art.
 No one can do the same thing twice.
The artist and the draftsman become collaborators in making  the art.
Each person draws a line differently and each person  understands words differently.
Neither lines nor words are ideas.  They are the means by which ideas are conveyed.
The wall drawing is the artist's art, as long as the plan is not violated.
If it is, then the draftsman becomes the artist and the drawing would be his work of art, but that art is a parody of the original concept.
The draftsman may make errors in following the plan without compromising the plan.
 All wall drawings contain errors. They are part of the work.
The plan exists as an idea but needs to be put into its optimum form.
 Ideas of wall drawings alone are contradictions of the idea of wall drawings.
The explicit plans should accompany the finished wall drawing.
They are of importance.
(from Art Now, vol. 3, no. 2, 1971.)

conditional drawing



First Step:
The first player draws a line.
The other players draw a line that goes over
and under the last drawn line.

In Turns:
The player elongates his/her line on both ends.
The elongations have to go over and under a line
of another player and may not go over the line of 

the same color twice in a row.

When a line can no longer be elongated, it is
considered dead for the rest of the game When
both ends of a line have died, the player may
place a new line.

the conditional design manifesto

zondag 13 april 2014


 Just released a new fullcolour zine with glitch, datamoshing, and other distortions on slormpjes inconsistent face-body relationships.

vrijdag 22 november 2013

Comics and the Abstract: Marc Terstroet

("lucky nonetheless..")

 ("according to this genealogy I am my own baby sister!....(..)"
Marc Terstroet

Ypsilon press 1983