Concerning dbCinema, I've been told that my use of the terms 'brush' and 'nib' and 'canvas' are inappropriate. Because they situate the piece in a painterly scenario that isn't the right one.
But, given what dbCinema does, that language is actually the most useful language, it seems to me. It provides people with the most easily understandable and relevant terminology to start to understand what dbCinema does and how it works. ja http://vispo.com/dbcinema ----- Original Message ----- From: "Yann Le Guennec" <i...@x-arn.org> To: "NetBehaviour for networked distributed creativity" <netbehaviour@netbehaviour.org> Sent: Monday, March 15, 2010 9:46 AM Subject: Re: [NetBehaviour] A statement Hello, Thanks for your feedback, maybe you're right. I'm thinking about 'painting' not from a technical point of view, involving some defined kinds of support and materials, but from a more conceptual one, as an historical and pictural practice in art. From this point of view, there is no reason to not talk about 'networked painting' like we can talk about 'oil painting', the technology is different, but i think we act in the same artistic field. Furthermore, maybe the "digital revolution" is the moment in time and space where 'painting' as an art practice will be more profoundly re-defined. In fact, i'm more interested in confronting and opening concepts and words than strictly refer to them in a predefined and closed signification. So, it's an open discussion and set of thoughts. ‘the computer is no more than a tool that helps painting to shake off the deadweight of an ossified classical heritage. Its immense combinatorial capacity facilitates the systematic investigation of an infinite range of possibilities.’4 4 Jean-Michel Place, ‘Vera Molnar, Regard sur mes images’, in Revue d’esthétique, n° 7, Paris, 1984. http://collection.fraclorraine.org/parcour/showtext/1?lang=en&wid=422 martin mitchell a écrit : > Hello. > > Please separate the idea of painting from the creation of digital > images it's a contradiction and makes it difficult for people to > understand what digital artists are creating........... > > Martin Mitchell. > > Crispy Nails Animation Studio. > > http://www.crispynails.co.uk/ > > On 15 Mar 2010, at 15:41, Yann Le Guennec wrote: > >> My work is about the evolution of painting in a networked >> environment, both physical and digital, present and distant, in >> time and space. I make what i call "variable paintings". They >> address classical themes such as Landscape or Still life. These >> paintings are not paintings in the sense of concrete objects, but >> digital pictures produced online by networked devices. This >> approach does not exclude the possibility of making physical >> objects from digital pictures, but the composition of these >> pictures is made online and should primarily be seen online, for >> example projected in an exhibition space connected to the internet. >> All devices are built on almost the same model. Visual sensors (eg: >> photography, stills from video) are taking pictures in an >> environment, these pictures are transformed by online softwares and >> then shown to the spectator. Variations in this main model allow >> each device to address more specific problematics in the field of >> "networked painting". >> >> http://www.yannleguennec.com/ >> >> >> _______________________________________________ NetBehaviour >> mailing list NetBehaviour@netbehaviour.org >> http://www.netbehaviour.org/mailman/listinfo/netbehaviour > > > > ------------------------------------------------------------------------ > > > _______________________________________________ NetBehaviour mailing > list NetBehaviour@netbehaviour.org > http://www.netbehaviour.org/mailman/listinfo/netbehaviour _______________________________________________ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour _______________________________________________ NetBehaviour mailing list NetBehaviour@netbehaviour.org http://www.netbehaviour.org/mailman/listinfo/netbehaviour
