1.
Color (medieval music)
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It is indicated by literally coloring the note-heads in the written music differently than their normal appearance. Sequences of colored notes can be used to notate triplet rhythms or hemiola effects, the color is typically divided into several taleae, sequences that have the same rhythmic sequence. The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie, sanders, Ernest H. and Mark Lindley. The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell
2.
Silent film
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A silent film is a film with no synchronized recorded sound, especially with no spoken dialogue. The silent film era lasted from 1895 to 1936, in silent films for entertainment, the dialogue is transmitted through muted gestures, mime and title cards which contain a written indication of the plot or key dialogue. During silent films, a pianist, theatre organist, or, in large cities, pianists and organists would either play from sheet music or improvise, an orchestra would play from sheet music. The term silent film is therefore a retronym—that is, a term created to distinguish something retroactively, the early films with sound, starting with The Jazz Singer in 1927, were referred to as talkies, sound films, or talking pictures. A September 2013 report by the United States Library of Congress announced that a total of 70% of American silent feature films are believed to be completely lost, the earliest precursors of film began with image projection through the use of a device known as the magic lantern. This utilized a glass lens, a shutter and a persistent light source, such as a powerful lantern and these slides were originally hand-painted, but still photographs were used later on after the technological advent of photography in the nineteenth century. The invention of a practical photography apparatus preceded cinema by only fifty years, the next significant step towards film creation was the development of an understanding of image movement. Simulations of movement date as far back as to 1828 and only four years after Paul Roget discovered the phenomenon he called Persistence of Vision. This experience was further demonstrated through Rogets introduction of the thaumatrope, the first projected primary proto-movie was made by Eadweard Muybridge between 1877 and 1880. Muybridge set up a row of cameras along a racetrack and timed image exposures to capture the many stages of a horses gallop, the oldest surviving film was created by Louis Le Prince in 1888. It was a film of people walking in Oakwood streets garden. Edison also made a business of selling Kinetograph and Kinetoscope equipment, due to Edisons lack of securing an international patent on his film inventions, similar devices were invented around the world. The Lumière brothers, for example, created the Cinématographe in France, the Cinématographe proved to be a more portable and practical device than both of Edisons as it combined a camera, film processor and projector in one unit. In contrast to Edisons peepshow-style kinetoscope, which one person could watch through a viewer. Their first film, Sortie de lusine Lumière de Lyon, shot in 1894, is considered the first true motion picture, the invention of celluloid film, which was strong and flexible, greatly facilitated the making of motion pictures. This film was 35 mm wide and pulled using four sprocket holes and this doomed the cinematograph, which could only use film with just one sprocket hole. From the very beginnings of film production, the art of motion pictures grew into maturity in the silent era. Silent filmmakers pioneered the art form to the extent that virtually every style, the silent era was also pioneering era from a technical point of view
3.
Roger Fry
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Roger Eliot Fry was an English painter and critic, and a member of the Bloomsbury Group. Establishing his reputation as a scholar of the Old Masters, he became an advocate of more recent developments in French painting and he was described by the art historian Kenneth Clark as incomparably the greatest influence on taste since Ruskin. In so far as taste can be changed by one man, born in London, the son of the judge Edward Fry, he grew up in a wealthy Quaker family in Highgate. Fry was educated at Clifton College and Kings College, Cambridge, at Cambridge, Fry met many freethinking men who would shape the foundation of his interest in the arts. Alongside men like John McTaggart and Goldsworthy Lowes Dickinson, Fry was a part of the elite Conversazione Society, after taking a first in the Natural Science tripos, he went to Paris and then Italy to study art. Eventually he specialised in landscape painting, in 1896, he married the artist Helen Coombe and they subsequently had two children, Pamela and Julian. Helen soon became mentally ill, and in 1910 was committed to a mental institution. Fry took over the care of their children with the help of his sister and that same year, Fry met the artists Vanessa Bell and her husband Clive Bell, and it was through them that he was introduced to the Bloomsbury Group. Vanessas sister, the author Virginia Woolf later wrote in her biography of Fry that He had more knowledge, in 1911, Fry began an affair with Vanessa Bell, who was recovering from a miscarriage. Fry offered her the tenderness and care she felt was lacking from her husband and they remained lifelong close friends, even though Frys heart was broken in 1913 when Vanessa fell in love with Duncan Grant and decided to live permanently with him. After short affairs with artists as Nina Hamnett and Josette Coatmellec. She became his emotional anchor for the rest of his life, Fry died very unexpectedly after a fall at his home in London. His death caused great sorrow among the members of the Bloomsbury Group, Vanessa Bell decorated his casket before his ashes were placed in the vault of Kings College Chapel in Cambridge. Virginia Woolf, Vanessas sister, novelist and a friend of his as well, was entrusted with writing his biography published in 1940. As a painter Fry was experimental, but his best pictures were straightforward naturalistic portraits, in his art he explored his own sensations and gradually his own personal visions and attitudes asserted themselves. His work was considered to give pleasure, communicating the delight of unexpected beauty, Fry did not consider himself a great artist, only a serious artist with some sensibility and taste. He considered Cowdray Park his best painting the best thing, in a way that I have done, in the 1900s, Fry started to teach art history at the Slade School of Fine Art, University College London. In 1903 Fry was involved in the foundation of The Burlington Magazine, Fry wrote for The Burlington from 1903 until his death, he published over two hundred pieces of eclectic subjects – from childrens drawings to bushman art
4.
Wassily Kandinsky
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Wassily Wassilyevich Kandinsky was a Russian painter and art theorist. He is credited with painting one of the first recognised purely abstract works, born in Moscow, Kandinsky spent his childhood in Odessa, where he graduated at Grekov Odessa Art school. He enrolled at the University of Moscow, studying law and economics, successful in his profession—he was offered a professorship at the University of Dorpat—Kandinsky began painting studies at the age of 30. In 1896 Kandinsky settled in Munich, studying first at Anton Ažbes private school and he returned to Moscow in 1914, after the outbreak of World War I. Kandinsky was unsympathetic to the theories on art in Communist Moscow. There, he taught at the Bauhaus school of art and architecture from 1922 until the Nazis closed it in 1933. He then moved to France, where he lived for the rest of his life, becoming a French citizen in 1939 and he died at Neuilly-sur-Seine in 1944. Kandinskys creation of work followed a long period of development. He called this devotion to beauty, fervor of spirit. Kandinsky was born in Moscow, the son of Lidia Ticheeva and Vasily Silvestrovich Kandinsky, Kandinsky learned from a variety of sources while in Moscow. He studied many fields while in school, including law and economics, later in life, he would recall being fascinated and stimulated by colour as a child. His fascination with colour symbolism and psychology continued as he grew, in 1889, he was part of an ethnographic research group which travelled to the Vologda region north of Moscow. In Looks on the Past, he relates that the houses and churches were decorated with such shimmering colours that upon entering them and this experience, and his study of the regions folk art, was reflected in much of his early work. The artist is the hand plays, touching one key or another. Kandinsky was also the uncle of Russian-French philosopher Alexandre Kojève, in 1896, at the age of 30, Kandinsky gave up a promising career teaching law and economics to enroll in the Munich Academy where his teachers would eventually include Franz von Stuck. He was not immediately granted admission, and began learning art on his own and that same year, before leaving Moscow, he saw an exhibit of paintings by Monet. He was particularly taken with the style of Haystacks, this. Later, he would write about this experience, That it was a haystack the catalogue informed me and this non-recognition was painful to me
5.
Fine art
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Historically, the five main fine arts were painting, sculpture, architecture, music and poetry, with performing arts including theatre and dance. Today, the fine arts commonly include additional forms, such as film, photography, video production/editing, design, sequential art, conceptual art, and printmaking. However, in some institutes of learning or in museums, fine art, in that sense, there are conceptual differences between the fine arts and the applied arts. The word fine does not so much denote the quality of the artwork in question and this definition originally excluded the applied or decorative arts, and the products of what were regarded as crafts. According to some writers the concept of a category of fine art is an invention of the early modern period in the West. Larry Shiner in his The Invention of Art, A Cultural History locates the invention in the 18th century, There was a traditional “system of the arts” in the West before the eighteenth century. ”Similar ideas have been expressed by Paul Oskar Kristeller, Pierre Bourdieu, and Terry Eagleton, though the point of invention is often placed earlier, in the Italian Renaissance. The separation of arts and crafts that often exists in Europe, in Japanese aesthetics the activities of everyday life are depicted by integrating not only art with craft but man-made with nature. Traditional Chinese art distinguished within Chinese painting between the mostly landscape painting of scholar gentlemen and the artisans of the schools of court painting. A high status was given to many things that would be seen as craft objects in the West, in particular ceramics, jade carving, weaving. Drawing is a form of expression and is one of the major forms of the visual arts. Common instruments include graphite pencils, pen and ink, inked brushes, wax color pencils, crayons, charcoals, chalk, pastels, markers, stylus, There are a number of subcategories of drawing, including cartooning. Mosaics are images formed with pieces of stone or glass. They can be decorative or functional, an artist who designs and makes mosaics is called a mosaic artist or a mosaicist. Printmaking is the process of making artworks by printing, normally on paper, except in the case of monotyping, the process is capable of producing multiples of the same piece, which is called a print. Each print is considered an original, as opposed to a copy, the reasoning behind this is that the print is not a reproduction of another work of art in a different medium — for instance, a painting — but rather an image designed from inception as a print. An individual print is also referred to as an impression, prints are created from a single original surface, known technically as a matrix. But there are other kinds, discussed below. Multiple nearly identical prints can be called an edition, in modern times each print is often signed and numbered forming a limited edition
6.
Film
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A film, also called a movie, motion picture, theatrical film or photoplay, is a series of still images which, when shown on a screen, creates the illusion of moving images due to the phi phenomenon. This optical illusion causes the audience to perceive continuous motion between separate objects viewed rapidly in succession, the process of filmmaking is both an art and an industry. The word cinema, short for cinematography, is used to refer to the industry of films. Films were originally recorded onto plastic film through a photochemical process, the adoption of CGI-based special effects led to the use of digital intermediates. Most contemporary films are now fully digital through the process of production, distribution. Films recorded in a form traditionally included an analogous optical soundtrack. It runs along a portion of the film exclusively reserved for it and is not projected, Films are cultural artifacts created by specific cultures. They reflect those cultures, and, in turn, affect them, Film is considered to be an important art form, a source of popular entertainment, and a powerful medium for educating—or indoctrinating—citizens. The visual basis of film gives it a power of communication. Some films have become popular worldwide attractions by using dubbing or subtitles to translate the dialog into the language of the viewer, some have criticized the film industrys glorification of violence and its potentially negative treatment of women. The individual images that make up a film are called frames, the perception of motion is due to a psychological effect called phi phenomenon. The name film originates from the fact that film has historically been the medium for recording and displaying motion pictures. Many other terms exist for a motion picture, including picture, picture show, moving picture, photoplay. The most common term in the United States is movie, while in Europe film is preferred. Terms for the field, in general, include the big screen, the screen, the movies, and cinema. In early years, the sheet was sometimes used instead of screen. Preceding film in origin by thousands of years, early plays and dances had elements common to film, scripts, sets, costumes, production, direction, actors, audiences, storyboards, much terminology later used in film theory and criticism apply, such as mise en scène. Owing to the lack of any technology for doing so, the moving images, the magic lantern, probably created by Christiaan Huygens in the 1650s, could be used to project animation, which was achieved by various types of mechanical slides
7.
Video
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Video is an electronic medium for the recording, copying, playback, broadcasting, and display of moving visual media. Video systems vary greatly in the resolution of the display and refresh rate, video can be carried on a variety of media, including radio broadcast, tapes, DVDs, computer files etc. Video was originally exclusively a live technology, charles Ginsburg led an Ampex research team developing one of the first practical video tape recorder. In 1951 the first video tape recorder captured live images from television cameras by converting the electrical impulses. Video recorders were sold for $50,000 in 1956, however, prices gradually dropped over the years, in 1971, Sony began selling videocassette recorder decks and tapes into the consumer market. The use of techniques in video created digital video, which allowed higher quality and, eventually. After the invention of the DVD in 1997 and Blu-ray Disc in 2006, sales of videotape, the advent of digital broadcasting and the subsequent digital television transition is in the process of relegating analog video to the status of a legacy technology in most parts of the world. PAL standards and SECAM specify 25 frame/s, while NTSC standards specify 29.97 frames, film is shot at the slower frame rate of 24 frames per second, which slightly complicates the process of transferring a cinematic motion picture to video. The minimum frame rate to achieve a comfortable illusion of an image is about sixteen frames per second. Video can be interlaced or progressive, analog display devices reproduce each frame in the same way, effectively doubling the frame rate as far as perceptible overall flicker is concerned. NTSC, PAL and SECAM are interlaced formats, abbreviated video resolution specifications often include an i to indicate interlacing. For example, PAL video format is specified as 576i50, where 576 indicates the total number of horizontal scan lines, i indicates interlacing. In progressive scan systems, each refresh period updates all scan lines in each frame in sequence, when displaying a natively progressive broadcast or recorded signal, the result is optimum spatial resolution of both the stationary and moving parts of the image. Deinterlacing cannot, however, produce video quality that is equivalent to true progressive scan source material, aspect ratio describes the dimensions of video screens and video picture elements. All popular video formats are rectilinear, and so can be described by a ratio between width and height, the screen aspect ratio of a traditional television screen is 4,3, or about 1.33,1. High definition televisions use a ratio of 16,9. The aspect ratio of a full 35 mm film frame with soundtrack is 1.375,1. Therefore, a 720 by 480 pixel NTSC DV image displayes with the 4,3 aspect ratio if the pixels are thin, the popularity of viewing video on mobile phones has led to the growth of vertical video
8.
Computer graphics
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Computer graphics are pictures and films created using computers. Usually, the term refers to computer-generated image data created with help from specialized hardware and software. It is a vast and recent area in computer science, the phrase was coined in 1960, by computer graphics researchers Verne Hudson and William Fetter of Boeing. It is often abbreviated as CG, though sometimes referred to as CGI. The overall methodology depends heavily on the sciences of geometry, optics. Computer graphics is responsible for displaying art and image data effectively and meaningfully to the user and it is also used for processing image data received from the physical world. Computer graphic development has had a significant impact on many types of media and has revolutionized animation, movies, advertising, video games, the term computer graphics has been used a broad sense to describe almost everything on computers that is not text or sound. Such imagery is found in and on television, newspapers, weather reports, a well-constructed graph can present complex statistics in a form that is easier to understand and interpret. In the media such graphs are used to illustrate papers, reports, thesis, many tools have been developed to visualize data. Computer generated imagery can be categorized into different types, two dimensional, three dimensional, and animated graphics. As technology has improved, 3D computer graphics have become more common, Computer graphics has emerged as a sub-field of computer science which studies methods for digitally synthesizing and manipulating visual content. Screens could display art since the Lumiere brothers use of mattes to create effects for the earliest films dating from 1895. New kinds of displays were needed to process the wealth of information resulting from such projects, early projects like the Whirlwind and SAGE Projects introduced the CRT as a viable display and interaction interface and introduced the light pen as an input device. Douglas T. Ross of the Whirlwind SAGE system performed an experiment in 1954 in which a small program he wrote captured the movement of his finger. Electronics pioneer Hewlett-Packard went public in 1957 after incorporating the decade prior, and established ties with Stanford University through its founders. This began the transformation of the southern San Francisco Bay Area into the worlds leading computer technology hub - now known as Silicon Valley. The field of computer graphics developed with the emergence of computer graphics hardware, further advances in computing led to greater advancements in interactive computer graphics. In 1959, the TX-2 computer was developed at MITs Lincoln Laboratory, the TX-2 integrated a number of new man-machine interfaces
9.
Norman McLaren
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Norman McLaren, CC CQ was a Scottish/Canadian animator, director and producer known for his work for the National Film Board of Canada. He was a pioneer in a number of areas of animation and filmmaking, including animation, drawn-on-film animation, visual music, abstract film, pixilation. McLaren was born in Stirling, Scotland and studied set design at the Glasgow School of Art and his early experiments with film and animation included actually scratching and painting the film stock itself, as he did not have ready access to a camera. His earliest extant film, Seven Till Five, a day in the life of an art school was influenced by Eisenstein and displays a strongly formalist attitude. McLaren used pixilation effects, superimpositions and animation not only to display the staging of an art school ball and his two early films won prizes at the Scottish Amateur Film Festival, where fellow Scot and future NFB founder John Grierson was a judge. Grierson, who was at that head of the UK General Post Office film unit, saw another of his movies at an amateur film festival. He hired McLaren for the GPO after his studies, following a stint as cameraman on Defence of Madrid, Ivor Montagu’s documentary on the Spanish Civil War. McLaren worked at the GPO from 1936 to 1939, making four films including, Book Bargain, Mony a Pickle and Love on the Wing, McLaren then moved to New York City in 1939, just as World War II was about to begin in Europe. With a grant from the Solomon Guggenheim Foundation, he worked in New York until 1941, making four drawn-on-film animated works, Boogie-Doodle, along with Dots, Loops and Stars and Stripes. At the invitation of Grierson, he moved to Canada in 1941 to work for the National Film Board, to open an animation studio, upon McLarens arrival in Canada, Grierson asked him to direct a promotional film reminding Canadians to mail their Christmas cards early, Mail Early. He then worked on animated shorts as well as maps for Allied propaganda documentary films, followed by his War Bonds campaign films, V for Victory,5 for 4, Hen Hop and Dollar Dance. McLaren trained these emerging animators, who would all work on cartoons, animated cards, studio A, the NFBs first animation studio, formally came into existence as of January 1943, with McLaren as its head. During his work for the NFB, McLaren created his most famous film, Neighbours, which has won various awards around the world, including the Canadian Film Award and the Academy Award. Besides the brilliant combination of visuals and sound, the film has a strong social message against violence. In his early period in Canada, McLaren spent considerable time developing the department of the board. In addition to film, McLaren worked with UNESCO in the 1950s and 1960s on programs to teach film and animation techniques in China and his five part Animated Motion shorts, produced in the late 1970s, are an excellent example of instruction on the basics of film animation. McLaren is remembered for his experiments with image and sound as he developed a number of groundbreaking techniques for combining and synchronizing animation with music, the National Film Board honoured McLaren by naming its Montreal head office building the Norman McLaren Building. The Montreal borough of Saint-Laurent, which is home to the NFB, has also honoured McLaren by naming a borough district after him, in 2006, he was the subject of a short animated documentary McLarens Negatives
10.
Color organ
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The term color organ refers to a tradition of mechanical, then electromechanical, devices built to represent sound or to accompany music in a visual medium—by any number of means. In the early 20th century, a silent color organ tradition developed, in the 1960s and 70s, the term color organ became popularly associated with electronic devices that responded to their music inputs with light shows. The term light organ is increasingly being used for these devices, in 1590, Gregorio Comanini described an invention by the Mannerist painter Arcimboldo of a system for creating color-music, based on apparent luminosity instead of hue. In 1725, French Jesuit monk Louis Bertrand Castel proposed the idea of Clavecin pour les yeux, in the 1740s, German composer Telemann went to France to see it, composed some pieces for it and wrote a book about it. It had 60 small colored glass panes, each with a curtain that opened when a key was struck, in about 1742, Castel proposed the clavecin oculaire as an instrument to produce both sound and the proper light colors. In 1743, Johann Gottlob Krüger, a professor at the University of Hall, in 1816, Sir David Brewster proposed the Kaleidoscope as a form of visual-music that became immediately popular. In 1877, US artist, inventor Bainbridge Bishop gets a patent for his first Color Organ, the instruments were lighted attachments designed for pipe organs that could project colored lights onto a screen in synchronization with musical performance. Bishop built three of the instruments, each was destroyed in a fire, including one in the home of P. T. Barnum, in 1893, British painter Alexander Wallace Rimington invented the Clavier à lumières. Rimingtons Colour Organ attracted much attention, including that of Richard Wagner, the instrument that accompanied that premiere was lighting engineer Preston S. Millars chromola, which was similar to Rimingtons instrument. In a 1916 art manifesto, the Italian Futurists Arnaldo Ginna and they also painted nine abstract films, now lost. In 1916, the Russian Futurist Painter Vladimir Baranoff Rossiné premiered the Optophonic Piano at his exhibition in Kristiana. In 1918, American concert pianist Mary Hallock-Greenewalt created an instrument she called the Sarabet, also an inventor, she patented nine inventions related to her instrument, including the rheostat. Vinageras proposed the Chromopiano, an instrument resembling and played like a grand piano, in the 1920s, Danish-born Thomas Wilfred created the Clavilux, a color organ, ultimately patenting seven versions. By 1930, he had produced 16 Home Clavilux units, glass disks bearing art were sold with these Clavilux Juniors. Wilfred coined the word lumia to describe the art, significantly, Wilfreds instruments were designed to project colored imagery, not just fields of colored light as with earlier instruments. In 1925, Hungarian composer Alexander Laszlo wrote a text called Color-Light-Music, in Germany, from the late 1920s–early 1930s, several color organs were demonstrated at a series of Color Music Congresses. Hirshfeld-Mack performed his Farbenlichtspiel color organ at these Congresses and at other festivals. He had developed this color organ at the Weimar Bauhaus school, the 1939 London Daily Mail Ideal Home Exhibition featured a 72-way Light Console and Compton Organ for Colour Music, as well as a 70 feet,230 kW Kaleidakon tower
11.
Bauhaus
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The Bauhaus was founded by Walter Gropius in Weimar. Nonetheless, it was founded with the idea of creating a work of art in which all arts, including architecture. The Bauhaus style later became one of the most influential currents in modern design, Modernist architecture and art, design, the Bauhaus had a profound influence upon subsequent developments in art, architecture, graphic design, interior design, industrial design, and typography. Although the school was closed, the continued to spread its idealistic precepts as they left Germany. The changes of venue and leadership resulted in a constant shifting of focus, technique, instructors, many Germans of left-wing views were influenced by the cultural experimentation that followed the Russian Revolution, such as constructivism. Such influences can be overstated, Gropius did not share these radical views, thus, the Bauhaus style, also known as the International Style, was marked by the absence of ornamentation and by harmony between the function of an object or a building and its design. In its first seven years, the Werkbund came to be regarded as the body on questions of design in Germany. The entire movement of German architectural modernism was known as Neues Bauen, beginning in June 1907, Peter Behrens pioneering industrial design work for the German electrical company AEG successfully integrated art and mass production on a large scale. Behrens was a member of the Werkbund, and both Walter Gropius and Adolf Meyer worked for him in this period. The Bauhaus was founded at a time when the German zeitgeist had turned from emotional Expressionism to the matter-of-fact New Objectivity, beyond the Bauhaus, many other significant German-speaking architects in the 1920s responded to the same aesthetic issues and material possibilities as the school. They also responded to the promise of a minimal dwelling written into the new Weimar Constitution, ernst May, Bruno Taut, and Martin Wagner, among others, built large housing blocks in Frankfurt and Berlin. The acceptance of modernist design into everyday life was the subject of publicity campaigns, well-attended public exhibitions like the Weissenhof Estate, films, the Vkhutemas, the Russian state art and technical school founded in 1920 in Moscow, has been compared to Bauhaus. Founded a year after the Bauhaus school, Vkhutemas has close parallels to the German Bauhaus in its intent, organization, the two schools were the first to train artist-designers in a modern manner. Vkhutemas was a school than the Bauhaus, but it was less publicised outside the Soviet Union. With the internationalism of modern architecture and design, there were exchanges between the Vkhutemas and the Bauhaus. In addition, El Lissitzkys book Russia, an Architecture for World Revolution published in German in 1930 featured several illustrations of Vkhutemas/Vkhutein projects there. The school was founded by Walter Gropius in Weimar in 1919 as a merger of the Grand Ducal School of Arts and Crafts and the Weimar Academy of Fine Art. Its roots lay in the arts and crafts founded by the Grand Duke of Saxe-Weimar-Eisenach in 1906
12.
Ludwig Hirschfeld Mack
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Ludwig Hirschfeld Mack was a German/Australian artist. His formative education was 1912–1914 at Debschitz art school in Munich and it is now regarded as an early form of multimedia. He was a participant, along with the former Bauhaus master Gertrud Grunow, music and colour theory remained lifelong interests, informing his art work in a number of media, and it was the inspiration for his well-respected and influential teaching. Ludwig Hirschfeld Mack was born in Frankfurt am Main where he grew up and he attended the Musterschule, a progressive Frankfurt high school for musically gifted children, which still exists today. He was later taught by Hermann Obrist and Wilhelm von Debschitz in Munich, taking art history with Heinrich Woelfflin, during the First World War, Ludwig Hirschfeld Mack was an infantry officer. He then enrolled at the University of Munich and attended lectures in art history by Heinrich Wölfflin and he remained at the Bauhaus until 1926 and conducted experiments in light projection, following Kurt Schwerdtfeger in developing the Farbenlichtspiele. In 1963, while visiting Europe Hirschfeld was invited by the Bauhaus-Archiv, Darmstadt, Germany, in 1926, Hirschfeld Mack began teaching art in the Free School in Wickersdorf. He then became professor at the Pedagogical Academy in Frankfurt and he taught at the University of Kiel from 1932 until the university was closed by the Nazis in 1933. He moved in 1935 to the Jöde-Schule/Güntherschule in Berlin and taught the construction of musical instruments. Hirschfeld Mack had married Elenor Wirth in 1917 and entered the Society of Friends, upon arrival Hirschfeld Mack taught art for the Subsistence Production Society, a Depression-era sustenance program of the Quakers in the Eastern Valley of Monmouthshire in South Wales. Elenor remained in Germany with the two youngest daughters, while his eldest, Margarita, followed him into English exile and his second daughter Ursel committed suicide in Germany in 1937. The Museum of Modern Art, New York, included his work in its Bauhaus retrospective of 1938. In 1940 Hirschfeld Mack was deported to Australia as an alien on the ship HMT Dunera, spending time in internment camps in Hay, Orange and Tatura. Imprisonment and the longing for freedom were the theme of his small, stark, poignant relief prints of this period, including the woodcut Desolation, Internment Camp and he was mentor to other internees including Erwin Fabian. Hirschfeld introduced the boys to such things as colour-coded guitars and colour organs, Hirschfeld was amongst a number of European wartime refugees who contributed to the renewal of Australian Art. He was also a guest lecturer at the University of Melbourne and he showed also at the Peter Bray Gallery, Melbourne, in 1953. In 1949-1950,1958 and 1964 he visited Europe, when Walter Gropius came to lecture at the Royal Australian Institute of Architects convention in Sydney in 1954 he made a special trip to Geelong Grammar School to visit his former colleague. In 1955 he married Miss Olive Russell, a leading Quaker whom he had met at Tatura, in 1957 he retired from Geelong Grammar School and they moved to Ferny Creek, Victoria
13.
Louis Bertrand Castel
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Louis Bertrand Castel was a French mathematician born in Montpellier, who entered the order of the Jesuits in 1703. Having studied literature, he devoted himself entirely to mathematics. After moving from Toulouse to Paris in 1720, at the behest of Bernard de Fontenelle and he wrote several scientific works, that which attracted most attention at the time being his Optique des couleurs, or treatise on the melody of colors. He also wrote Traité de physique sur la pesanteur universelle des corps, Mathématique universelle, Louis Bertrand Castel wrote on areas as wide-ranging as physics, mathematics, morals, aesthetics, theology and history. His philosophical approach attempted to reconcile fields and viewpoints, Castel based much of his work on analogical thinking, seeking to understand the physical and moral worlds through the discovery of analogies. Castel’s first major published work was his Traité de physique de la pesanteur universelle des corps and he first attempted to systematize physical phenomena, through the mechanical action of universal gravity. He then considered a mechanistic world-views shortcomings, from a theological and metaphysical perspective and he held humanity as central to natural philosophy, in that humans are embodied spirits whose actions, chosen with free will, affect the world around them and each other. In emphasizing free will and the actions of mankind Castel attempted to counter deterministic views of man, Castel considered that true science should focus on readily experienced and described phenomena. His emphasis on the description and analysis of the world was consistent with analogic thinking. Castel actively opposed the idea of a science based on methods, instruments, speculation. Early on, Castel illustrated his theories with a proposal for a Clavecin pour les yeux. A new series of articles, published in the Mercure de France in 1735, in 1739 the German composer Telemann went to France to see Castels Ocular Harpsichord for himself. He ended up composing several pieces for it, as well as writing a description of it, the ocular harpsichord had sixty small coloured glass panes, each with a curtain that opened when a key was struck. A second, improved model of the harpsichord was demonstrated for an audience in December 1754. Pressing a key caused a shaft to open, in turn allowing light to shine through a piece of stained glass. It was an argument that Goethe later developed in his Theory of Colours, color organ Theory of Colours This article incorporates text from a publication now in the public domain, Chisholm, Hugh, ed. Castel, Louis Bertrand. Musique Oculaire in Edmé-Gilles Guyot, Nouvelles récréations physiques et mathématiques, Gueffier, Paris 1770, pp. 234-240
14.
Georg Philipp Telemann
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Georg Philipp Telemann was a German Baroque composer and multi-instrumentalist. Almost completely self-taught in music, he became a composer against his familys wishes, after studying in Magdeburg, Zellerfeld, and Hildesheim, Telemann entered the University of Leipzig to study law, but eventually settled on a career in music. He held important positions in Leipzig, Sorau, Eisenach, and Frankfurt before settling in Hamburg in 1721, Telemanns music incorporates several national styles and is even at times influenced by Polish popular music. He remained at the forefront of all new musical tendencies and his music is an important link between the late Baroque and early Classical styles, Telemann was born in Magdeburg, then the capital of the Duchy of Magdeburg, Brandenburg-Prussia. His father Heinrich, deacon at the Church of the Holy Spirit, the future composer received his first music lessons at 10, from a local organist, and became immensely interested in music in general, and composition in particular. Despite opposition from his mother and relatives, who forbade any musical activities, Telemann found it possible to study and compose in secret, even creating an opera at age 12. Telemann was becoming equally adept both at composing and performing, teaching himself flute, oboe, violin, recorder, double bass, in 1701 he graduated from the Gymnasium and went to Leipzig to become a student at the Leipzig University, where he intended to study law. He ended up becoming a musician, regularly composing works for Nikolaikirche. In 1702 he became director of the opera house Opernhaus auf dem Brühl. Prodigiously productive, Telemann supplied a wealth of new music for Leipzig, including operas, one of which was his first major opera. However, he engaged in a conflict with the cantor of Thomaskirche. The conflict intensified when Telemann started employing numerous students for his projects, including those that were Kuhnaus, Telemann left Leipzig in 1705 at the age of 24 after receiving an invitation to become Kapellmeister for the court of Count Erdmann II of Promnitz at Sorau. He became Konzertmeister on 24 December 1708 and Secretary and Kapellmeister in August 1709, during his tenure at Eisenach Telemann created a very large amount of music, at least four annual cycles of church cantatas, dozens of sonatas and concertos, and other works. In 1709 he married Amalie Louise Juliane Eberlin, lady-in-waiting to the Countess of Promnitz and their daughter was born in January 1711. The mother died soon afterwards, leaving Telemann depressed and distraught, after less than a year he sought another position, and moved to Frankfurt on 18 March 1712 at the age of 31 to become city music director and Kapellmeister at the Barfüsserkirche. In Frankfurt, he gained his mature personal style. Here, as in Leipzig, he was a force in the citys musical life. By 1720 he had adopted the use of the da capo aria, operas such as Narciso, which was brought to Frankfurt in 1719, written in the Italian idiom of composition, made a mark on Telemanns output
15.
Mary Hallock-Greenewalt
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Mary Elizabeth Hallock-Greenewalt was an inventor and pianist who performed with the Philadelphia and Pittsburgh symphonies as a soloist. She is best known for her invention of a type of music she called Nourathar. Thomas Eakins painted her portrait in 1903, currently in the Roland P. Murdock Collection of the Wichita Museum of Art, Greenewalt was born in 1871 in Beirut, then part of Syria, to Samuel Hallock and Sara Tabet. As a young adult Greenewalt studied piano at the Philadelphia Conservatory of Music, after her return to Philadelphia she married Frank L. Greenewalt, a physician. The couple had one son, Crawford Hallock Greenewalt, an engineer who eventually served as president of the DuPont Company. In her later years Greenewalt resided in Wilmington, Delaware and she died in Philadelphia at the age of 79. Columbia Records released her performance of Chopins Preludes in E Minor, C minor, A Major, the name for her art, Nourathar, was adapted from the Arabic words for light, and essence of. Unlike earlier inventors of color-music such as the painter A and her earliest attempts at creating this art entailed her construction of an automated machine where colored lights were synchronized to records. This produced a result, leading to her development of an instrument that could actually be played live. Her color organ, which she named Sarabet after her mother and she received nine patents from the US Patent office for them. Among these devices was a variety of rheostat, a patent that was infringed by General Electric. She sued them for infringement and won in 1934, the Sarabet went through a series of refinements between 1916 and 1934. In 1946 she published a book on her art of light-color playing called Nourathar. Michael Betancourt has noted Hallock-Greenewalt also produced the earliest hand-painted films known to still exist, however, these were not movies but films produced specifically to be performed by her earliest version of the Sarabet which was a machine for automatic accompaniment to records. Its construction, where a single viewer looked down into the machine at the film itself and this device was an early music visualizer of the type now included with computer audio-players. Michael Betancourt, Mary Hallock-Greenewalt, The Complete Patents, colour-Music, The Art Of Mobile Colour. Harmony and Dissent, Film and Avant-garde Art Movements in the Early Twentieth Century, waterloo, ON, CAN, Wilfrid Laurier University Press. The Mary Elizabeth Hallock Greenewalt papers, including correspondence, photos, drawings, works by or about Mary Hallock-Greenewalt at Internet Archive
16.
Futurism
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Futurism was an artistic and social movement that originated in Italy in the early 20th century. It emphasized speed, technology, youth, and violence, and objects such as the car, the aeroplane, although it was largely an Italian phenomenon, there were parallel movements in Russia, England, Belgium and elsewhere. It glorified modernity and aimed to liberate Italy from the weight of its past, Cubism contributed to the formation of Italian Futurisms artistic style. Important Futurist works included Marinettis Manifesto of Futurism, Boccionis sculpture Unique Forms of Continuity in Space, to some extent Futurism influenced the art movements Art Deco, Constructivism, Surrealism, Dada, and to a greater degree Precisionism, Rayonism, and Vorticism. Futurism is a movement founded in Milan in 1909 by the Italian poet Filippo Tommaso Marinetti. He was soon joined by the painters Umberto Boccioni, Carlo Carrà, Giacomo Balla, Gino Severini, Marinetti expressed a passionate loathing of everything old, especially political and artistic tradition. We want no part of it, the past, he wrote, publishing manifestos was a feature of Futurism, and the Futurists wrote them on many topics, including painting, architecture, religion, clothing and cooking. The founding manifesto did not contain an artistic programme, which the Futurists attempted to create in their subsequent Technical Manifesto of Futurist Painting. This committed them to a universal dynamism, which was to be represented in painting. The motor bus rushes into the houses which it passes, the Futurist painters were slow to develop a distinctive style and subject matter. In 1910 and 1911 they used the techniques of Divisionism, breaking light and color down into a field of stippled dots and stripes, which had been originally created by Giovanni Segantini and others. Later, Severini, who lived in Paris, attributed their backwardness in style and method at this time to their distance from Paris, the centre of avant-garde art. Severini was the first to come into contact with Cubism and following a visit to Paris in 1911 the Futurist painters adopted the methods of the Cubists, Cubism offered them a means of analysing energy in paintings and expressing dynamism. They often painted modern urban scenes, carràs Funeral of the Anarchist Galli is a large canvas representing events that the artist had himself been involved in, in 1904. The action of an attack and riot is rendered energetically with diagonals. His Leaving the Theatre uses a Divisionist technique to render isolated, Boccionis The City Rises represents scenes of construction and manual labour with a huge, rearing red horse in the centre foreground, which workmen struggle to control. The Futurists aimed through their art thus to enable the viewer to apprehend the inner being of what they depicted, Boccioni developed these ideas at length in his book, Pittura scultura Futuriste, Dinamismo plastico. Ballas Dynamism of a Dog on a Leash exemplifies the Futurists insistence that the world is in constant movement
17.
Drawn-on-film animation
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There are two basic methods to produce animation directly on film. One starts with film stock, the other one with black film. On blank film the artist can draw, paint, stamp, black film can be scratched, etched, sanded, or punched. Any tool the artist finds useful may be used for this, the frame borders may be observed or completely ignored, found footage may be included, any existing image might be distorted by mechanical or chemical means. A third method takes place in a darkroom, using unexposed film that is exposed frame by frame, the artists places objects onto the fresh stock and then uses a small light beam to create the images. This third category of work has to be sent to a lab and processed, large formats such as 70 or 35mm film may be preferred for their relatively larger working area, but direct animation is done on 16 mm or even Super 8 mm film as well. Since the sound strip on 35 mm film is optical, it is possible to create synthetic sound as well as images by drawing or otherwise reproducing forms in the soundtrack area and their work covers the whole span between narrative and totally abstract animation. Other filmmakers in the 1960s expanded the idea and subjected the film stock to increasingly radical methods, some artists made this destruction a statement, others went back one step and copied the original work film strip to get a projection copy. Direct animation can be a way to produce a film, it can even be done on outtakes. It is a form of animation that is inviting to beginners, Norman McLaren wrote a short illustrated introduction How to make animated movies without a camera which was originally published by UNESCO in 1949. Helen Hill published a collection called Recipes for Disaster that includes a range of approaches to creating images directly on film. Today, cameraless animation is being produced worldwide, in 1912, Italian Futurists Arnaldo Ginna and Bruno Corra discuss their nine abstract films in their text Abstract Cinema – Chromatic Music. In 1916, American concert pianist Mary Hallock-Greenewalt produced hand-painted film strips, possibly intended for projection in her color organ, in 1926 Man Ray created Emak Bakia, which includes sequences made by exposing film directly to light. In 1935 Len Lye created the first direct film screened to a general audience, Lye and Norman McLaren produced hand-painted films for John Grierson in the GPO Film Unit. Lye went on to direct films in New York. Beginning in 1941, McLaren continued this work at the National Film Board of Canada, NFB direct films created or co-created by McLaren include Boogie-Doodle, Hen Hop, Begone Dull Care and Blinkity Blank. In 1946, Harry Smith produced hand-painted films in San Francisco which screened at the Art in Cinema series at the San Francisco Museum of Art, in 1970, José Antonio Sistiaga exhibited the first feature-length hand-painted film, the silent epic. Era erera baleibu izik subua aruaren. in Madrid, stan Brakhage, Mothlight Harry Everett Smith Pierre Hébert, Memories of War Steven Woloshen produced and directed Ditty Dot Comma
18.
Musical form
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The term musical form refers to the overall structure or plan of a piece of music, and it describes the layout of a composition as divided into sections. According to Richard Middleton, musical form is the shape or structure of the work and he describes it through difference, the distance moved from a repeat, the latter being the smallest difference. Difference is quantitative and qualitative, how far, and of what type, in many cases, form depends on statement and restatement, unity and variety, and contrast and connection. This phrase may be regarded as the unit of musical form. Even at this level, the importance of the principles of repetition and contrast, weak and strong, climax and repose, thus, form may be understood on three levels of organization. For the purpose of exposition, these levels can be roughly designated as passage, piece. The smallest level of construction concerns the way musical phrases are organized into musical sentences and this may be compared to, and is often decided by, the verse form or meter of the words or the steps of a dance. In the analysis of form, any components that can be defined on the time axis are conventionally designated by letters. Upper-case letters are used for the most fundamental, while lower-case letters are used for sub-divisions, if one such section returns in a varied or modified form, a numerical digit or an appropriate number of prime symbols appears after the letter. Even at this simplest level, there are patterns that may be re-used on larger timescales, for example, consider the analogy with rhyme schemes, The following verse is composed of two differently-rhymed couplets, and thus its organization is binary or twofold. Twinkle, twinkle, little star, How I wonder what you are, up above the world so high, like a diamond in the sky. There once was a fellow from Leeds Who swallowed a packet of seeds, in less than an hour he burst into flower And he died trying to pull up the weeds. The next level concerns the structure of any single self-contained musical piece. If the hymn, ballad, blues or dance alluded to above simply repeats the same musical material indefinitely then the piece is said to be in strophic form overall. If it repeats with distinct, sustained changes each time, for instance in setting, ornamentation or instrumentation, then the piece is a theme and variations. If the theme is played, then a new theme is introduced, great arguments and misunderstanding can be generated by such terms as ternary and binary, as a complex piece may have elements of both at different organizational levels. The grandest level of organization may be referred to as cyclical form and it concerns the arrangement of several self-contained pieces into a large-scale composition. For example, a set of songs with a theme may be presented as a song-cycle
19.
Walter Ruttmann
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Walter Ruttmann was a German film director and along with Hans Richter, Viking Eggeling and Oskar Fischinger was an early German practitioner of experimental film. He also worked with sound alone, Ruttmann was born in Frankfurt am Main, he studied architecture and painting and worked as a graphic designer. His film career began in the early 1920s, Ruttmann and his colleagues of the avant garde movement enriched the language of film as a medium with new formal techniques. Ruttmann was a prominent exponent of both art and music. His early abstractions played at the 1929 Baden-Baden Festival to international acclaim despite their being almost eight years old, Ruttmann licensed a Wax Slicing machine from Oskar Fischinger to create special effects for Lotte Reiniger. Together with Erwin Piscator, he worked on the film Melody of the World, though he is best remembered for Berlin, during the Nazi period he worked as an assistant to director Leni Riefenstahl on Triumph of the Will. He died in Berlin of wounds sustained when he was working on the front line as a war photographer. Lichtspiel, Opus I Der Sieger Das Wunder Lichtspiel, Opus II Lichtspiel, Opus III Lichtspiel, Walter Ruttmann and the Cinema of Multiplicity, Avant-garde-Advertising-Modernity. Amsterdam, NL, Amsterdam University Press,2014, Berlin, Freunde der deutschen Kinemathek,1989. Walter Ruttmann, cinema, pittura, ars acustica, ISBN9788870245035 Walter Ruttmann at the Internet Movie Database Lichtspiel Opus 1,2,3,4 on YouTube
20.
Viking Eggeling
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Viking Eggeling was a Swedish avant-garde artist and filmmaker connected to dadaism, Constructivism and abstract art and was one of the pioneers in absolute film and visual music. His 1924 film Diagonal-Symphonie is one of the seminal abstract films in the history of experimental cinema, at the age of sixteen, the orphaned Eggeling moved to Germany to pursue an artistic career. He studied art history in Milan from 1901 to 1907, supporting himself with work as a bookkeeper, from 1907 to 1911, he taught Art at the Hochalpines Lyceum in Zuoz/Institut Engiadina in Switzerland. He lived in Paris from 1911 to 1915, where he was acquainted with Amedeo Modigliani, Hans Arp, Léopold Survage and other artists of the time. In 1919 he also joined the group Das Neue Leben, that was based in Basel and featured Marcel Janco, Hans Arp, Sophie Taeuber, Augusto Giacometti, the group supported an educational approach to modern art, coupled with socialist ideals and Constructivist aesthetics. In its art manifesto, the group declared its ideal of rebuild the community in preparation for the end of capitalism. In the same year Eggeling was co-founder of the similar group Artistes Radicaux, a more political section of the Neue Leben group. During this time, in 1918, Tristan Tzara introduced him to Hans Richter, with whom he would work intimately for a couple of years, in Germany his first stop was Berlin, where he met with Raoul Hausmann, Hannah Höch and other radical artists. He here also joined the Novembergruppe, a political group that featured many artists connected to Dada, Bauhaus. After moving to Klein-Kölzig with Richter, he continued his experiments with picture rolls and these scrolls were sequences of painted images on long rolls of paper that investigate the transformation of geometrical forms and could be up to 15 meters in length. As they were to be read from left to right, this evolved into cinematographic experimentation on film stock. In 1920, Eggeling began producing his first film, Horizontal-Vertikal-Messe, in 1921, he ends his collaboration with Richter and postpones his work on Horizontal-Vertikal-Messe. This film was completed in 1924 and shown for the first time in November the same year and its first public screening was in Berlin in May 1925, at the film program Der absolute Film, arranged by the Novembergruppe
21.
Len Lye
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Leonard Charles Huia Len Lye, was a Christchurch, New Zealand-born artist known primarily for his experimental films and kinetic sculpture. Lyes sculptures are found in the collections of the Whitney Museum of American Art, the Art Institute of Chicago, the Albright-Knox Art Gallery and the Berkeley Art Museum. Although he became a citizen of the United States in 1950, much of his work went to New Zealand after his death. As a student, Lye became convinced that motion could be part of the language of art, leading him to early experiments with kinetic sculpture, as well as a desire to make film. Lye was also one of the first Pākehā artists to appreciate the art of Māori, Australian Aboriginal, Pacific Island and African cultures, in the early 1920s Lye travelled widely in the South Pacific. He spent extended periods in Australia and Samoa, where he was expelled by the New Zealand colonial administration for living within an indigenous community, working his way as a coal trimmer aboard a steam ship, Lye moved to London in 1926. There he joined the Seven and Five Society, exhibited in the 1936 International Surrealist Exhibition, following his first animated film Tusalava, Lye began to make films in association with the British General Post Office, for the GPO Film Unit. It was the first direct film screened to a general audience and it was made by painting vibrant abstract patterns on the film itself, synchronizing them to a popular dance tune by Don Baretto and His Cuban Orchestra. A panel of experts convened in 2005 by the Annecy film festival put this film among the top ten most significant works in the history of animation. Lye also worked for the GPO Film Units successor, the Crown Film Unit producing wartime information films, on the basis of this work, Lye was later offered work for The March of Time newsreel in New York. Leaving his wife and children in England, Lye moved to New York in 1944, in Free Radicals he used black film stock and scratched designs into the emulsion. The result was a pattern of flashing lines and marks. In 2008, this film was added to the United States National Film Registry, Lye continued to experiment with the possibilities of direct film-making to the end of his life. In various films he used a range of dyes, stencils, air-brushes, felt tip pens, stamps, combs and surgical instruments, in Color Cry, he employed the photogram method combined with various stencils and fabrics to create abstract patterns. It is a 16mm direct film featuring a soundtrack by the blues singer Sonny Terry. As a writer, Len Lye produced a body of work exploring his theory of IHN and he also wrote a large number of letters and poems. He was a friend of Dylan Thomas, and of Laura Riding, the NZEPC website contains a selection of Lyes writings, which are just as surprising and experimental as his work in other media. One of his theories was that artists attempt to reproduce themselves in their works, Lye was also an important kinetic sculptor and what he referred to as Tangibles
22.
Harry Everett Smith
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Harry Everett Smith was a visual artist, experimental filmmaker, record collector, bohemian, mystic, and largely self-taught student of anthropology. Besides his films, Smith is widely known for his influential Anthology of American Folk Music, throughout his life Smith was an inveterate collector. In addition to records, artifacts he collected included string figures, paper airplanes, Seminole textiles, Harry Smith was born in Portland, Oregon, and spent his earliest years in Washington state in the area between Seattle and Bellingham. As child he lived for a time with his family in Anacortes, Washington, a town on Fidalgo Island and he attended high school in nearby Bellingham. Smiths parents were Theosophists with Pantheistic tendencies, and both were fond of folk music and his mother, Mary Louise, originally from Sioux City, Iowa, came from a long line of school teachers and herself taught for a time on the Lummi Indian reservation near Bellingham. His father, Robert James Smith, a fisherman, worked as a watchman for the Pacific American Fishery and he had also been a prominent Freemason and had authored several books about the history of the order. Smiths parents, who didnt get along, lived in separate houses, although poor, they gave their son an artistic education, including 10 years of drawing and painting lessons. For a time, it is said, they ran an art school in their house. Smith was also a reader and he recalled his father bringing him a copy of Carl Sandburgs folksong anthology. We were considered some kind of low family, Smith once said, friends recall that in high school Smith carried around a camera and in his high school yearbook said that he wanted to compose symphonic music. Physically, Smith was undersized and had a curvature of the spine, during World War II he took a job as a mechanic working nights on the construction of the tight, hard-to-reach interior of Boeing bomber planes, for which his short stature suited him. Smith used the money he made from his job to buy blues records and it also enabled him to formally study anthropology at the University of Washington in Seattle for five semesters between 1942 and the fall of 1944. When the war ended Smith, now 22, moved to the Bay Area of San Francisco, then home to a bohemian folk music. In 1948, his mother succumbed to cancer, immediately after her funeral, Smith, who was estranged from his father, left Berkeley for a room above a well-known after hours jazz club in the Fillmore district of San Francisco. In 1950 Smith received a Guggenheim grant to complete an abstract film and he arranged for his collections, including his records, to be shipped to the East Coast. He said that one reason he moved to New York was to study the Cabala, and, I wanted to hear Thelonious Monk play. When his grant money ran out, he brought what he termed the cream of the crop of his collection to Moe Asch, president of Folkways Records. The recording engineer on the project was Péter Bartók, son of the renowned composer, LP discs could hold much more material than the old three-minute 78s, and had greater fidelity and far less surface noise
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James Whitney (filmmaker)
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For other people named James Whitney, see James Whitney James Whitney, younger brother of John, was a filmmaker regarded as one of the great masters of abstract cinema. Several of his films are classics in the genre of visual music, James Whitney was born December 27,1921, in Pasadena, California, and lived all his life in the Los Angeles area. He studied painting, and traveled in England before the outbreak of World War II, in 1940, he returned to Pasadena. James completed a number of films over four decades, two of which required at least five years of work. James collaborated with his brother John for some of his film work. The first of the films was Twenty-Four Variations on an Original Theme. Its structure was influenced by Schoenbergs serial principles, James spent 3 years working on Variations on a Circle, which lasts some 20 minutes, and was made with 8mm film. James and John created their series of Five Film Exercises between 1943 and 1944, for which the brothers won a prize for best sound at the 1949 Brussels Experimental Film Competition. In 1946, the travelled to San Francisco Museum of Modern Art to show their films at the first of ten annual Art in Cinema festivals. Following this period, James became more involved in spiritual interests such as Jungian psychology, alchemy, yoga, Tao and these interests heavily influenced his later work. James was a potter and ceramicist, interested in raku ware, between 1950 and 1955, James laboured to construct a truly astounding masterpiece, Yantra. The film was produced entirely by hand and it was first released as a silent film. A very short, black and white, manipulated fragment from a version of Yantra was shown at one of the historic Vortex Concerts in San Franciscos Morrison planetarium in early 1959. Soon after Vortex, the film acquired its soundtrack, when Jordan Belson synchronized it to an excerpt from Henk Badings’ Cain and this did not occur at the Morrison Planetarium Vortex Concerts, contrary to popular belief. Analogue computer equipment developed by brother John, allowed James to complete Lapis in two years, when it might have seven years otherwise. James drew dot patterns again for this film, but the camera was positioned using computer control, in this piece, smaller circles oscillate in and out in an array of colors resembling a kaleidoscope while being accompanied by Indian sitar music. The patterns become hypnotic and trance inducing, Wu Ming, meaning no name in Chinese, repeats a single action over and over - a particle disappears into infinity, and returns as a wave. James described the action in Wu Ming as being like throwing a pebble into water
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Los Angeles Museum of Contemporary Art
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The Museum of Contemporary Art, Los Angeles is a contemporary art museum with three locations in greater Los Angeles, California. The main branch is located on Grand Avenue in Downtown Los Angeles, MOCAs original space, initially intended as a temporary exhibit space while the main facility was built, is now known as the Geffen Contemporary, in the Little Tokyo district of downtown Los Angeles. The Pacific Design Center facility is in West Hollywood, the museums exhibits consist primarily of American and European contemporary art created after 1940. Since the museums inception, MOCAs programming has been defined by its approach to contemporary art. Throughout the evening, Weisman passionately discussed the citys need for an art museum. In the following weeks, the Mayors Museum Advisory Committee was organized, the committee, led by William A. Norris, set about creating a museum from scratch, including locating funds, trustees, directors, curators, a gallery, and most importantly an art collection. The following year, the fledgling Museum of Contemporary Art was operating out of an office on Boyd Street, many of MOCAs initial donors were young and supporting the arts for the first time, a substantial number joined up at the $10,000 founder minimum. Making up well over 90% of the works, gifts from several major private collectors form the cornerstones of MOCAs permanent collection of nearly 6,000 works. Much of it has come from members who donated or bequeathed key works or entire collections. In 1985, the museum accepted Michael Heizers earthwork Double Negative in Nevada desert, in 1991, Hollywood screenwriter Scott Spiegel donated works by Jean-Michel Basquiat, Mark Innerst, Robert Longo, Susan Rothenberg, David Salle, among others. Over the years, major donations of art collections have come from the Lannan Foundation, in 2000, MOCA received gifts from artists themselves, including major pieces by sculptor and performance artist Paul McCarthy, video artist Doug Aitken and photographer Andreas Gursky. Los Angeles-based artist Ed Moses made a gift of his work to the museum in 1995. As the Los Angeles Times declared, There isn’t a city in America—not New York, not Chicago, not Houston, not San Francisco—where a more impressive museum collection of contemporary art can be seen. Art as Object, 1958-1968, Reconsidering the Object of Art, 1965-1975, Hall of Mirrors, Art and Film since 1945, Out of Actions, Between Performance and the Object, 1949-1979, WACK. Art and the Feminist Revolution, Art in the Streets, Under the Big Black Sun, California Art 1974–1981, and Ends of the Earth, Land Art to 1974. The museum also organized the first major museum retrospectives of the work of Allen Ruppersberg, John Baldessari, Ad Reinhardt, Jeff Wall, Barbara Kruger, and Takashi Murakami. In addition there were also monographic shows like an ambitious installation by Robert Gober in 1997, of all solo shows on view over the period between January 2008 and December 2012, only about 28% were devoted to female artists. Besides artists retrospectives and art historical investigations, under chief curator Paul Schimmel, public Offerings, in 2001, explored the phenomenon of youthful creative energy in an overheated art world where stars are created before they leave art school
25.
Hirshhorn Museum and Sculpture Garden
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The Hirshhorn Museum and Sculpture Garden is an art museum beside the National Mall, in Washington, D. C. the United States. The museum was endowed during the 1960s with the permanent art collection of Joseph H. Hirshhorn. It was designed by architect Gordon Bunshaft and is part of the Smithsonian Institution, the Hirshhorn is sited halfway between the Washington Monument and the US Capitol, anchoring the southernmost end of the so-called L’Enfant axis. The building itself is an attraction, an open cylinder elevated on four massive legs, in the late 1930s, the United States Congress mandated an art museum for the National Mall. At the time, the venue for visual art was the National Gallery of Art, which focuses on Dutch, French. During the 1940s World War II shifted the project into the background, meanwhile, Joseph H. Then, in 1955, Hirshhorn sold his uranium interests for more than $50-million. He expanded his collection to warehouses, an apartment in New York City, a 1962 sculpture show at New Yorks Guggenheim Museum awakened an international art community to the breadth of Hirshhorns holdings. Word of his collection of modern and contemporary paintings also circulated, and institutions in Italy, Israel, Canada, California, president Lyndon B. Johnson and Smithsonian Secretary S. Dillon Ripley successfully campaigned for a new museum on the National Mall. In 1966, an Act of Congress established the Hirshhorn Museum and Sculpture Garden, most of the funding was federal, but Hirshhorn later contributed $1-million toward construction. Joseph and his wife, Olga Zatorsky Hirshhorn, visited the White House. The groundbreaking was in 1969 and Abram Lerner was named the founding Director and he oversaw research, conservation, and installation of more than 6,000 items brought from the Hirshhorns Connecticut estate and other properties to Washington, DC. What I accomplished in the United States I could not have accomplished anywhere else in the world, one million visitors saw the 850-work inaugural show in the first six months. In 1984, James T. Demetrion, fourteen-year director of the Des Moines Art Center in Iowa, Art collector and retail store founder Sydney Lewis of Richmond, Virginia, succeeded Senator Daniel P. Moynihan as board chairman. Mr. Demetrion held the post for more than 17 years, ned Rifkin became director in February 2002, returning to the Hirshhorn after directorship positions at the Menil Collection in Texas and the High Museum of Art in Atlanta, Georgia. Rifkin was previously curator of the Hirshhorn from 1986 until 1991. In October 2003, Rifkin was named Under Secretary for Art of the Smithsonian, in 2005, Olga Viso was named director of the Hirshhorn. Viso joined the department of the Hirshhorn in 1995 as assistant curator, was named associate curator in 1998. In October 2003, Viso was named deputy director of the Hirshhorn, after two years, Ms. Viso accepted the position of Director of the Walker Art Center in Minneapolis, departing in December 2007
26.
Sine wave
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A sine wave or sinusoid is a mathematical curve that describes a smooth repetitive oscillation. It is named after the sine, of which it is the graph. It occurs often in pure and applied mathematics, as well as physics, engineering, signal processing and many other fields. Its most basic form as a function of time is, y = A sin = A sin where, A = the amplitude, F = the ordinary frequency, the number of oscillations that occur each second of time. ω = 2πf, the frequency, the rate of change of the function argument in units of radians per second φ = the phase. When φ is non-zero, the entire waveform appears to be shifted in time by the amount φ /ω seconds, a negative value represents a delay, and a positive value represents an advance. The sine wave is important in physics because it retains its shape when added to another sine wave of the same frequency and arbitrary phase. It is the only periodic waveform that has this property and this property leads to its importance in Fourier analysis and makes it acoustically unique. The wavenumber is related to the frequency by. K = ω v =2 π f v =2 π λ where λ is the wavelength, f is the frequency, and v is the linear speed. This equation gives a wave for a single dimension, thus the generalized equation given above gives the displacement of the wave at a position x at time t along a single line. This could, for example, be considered the value of a wave along a wire, in two or three spatial dimensions, the same equation describes a travelling plane wave if position x and wavenumber k are interpreted as vectors, and their product as a dot product. For more complex such as the height of a water wave in a pond after a stone has been dropped in. This wave pattern occurs often in nature, including wind waves, sound waves, a cosine wave is said to be sinusoidal, because cos = sin , which is also a sine wave with a phase-shift of π/2 radians. Because of this start, it is often said that the cosine function leads the sine function or the sine lags the cosine. The human ear can recognize single sine waves as sounding clear because sine waves are representations of a frequency with no harmonics. Presence of higher harmonics in addition to the fundamental causes variation in the timbre, on the other hand, if the sound contains aperiodic waves along with sine waves, then the sound will be perceived noisy as noise is characterized as being aperiodic or having a non-repetitive pattern. In 1822, French mathematician Joseph Fourier discovered that sinusoidal waves can be used as building blocks to describe and approximate any periodic waveform
27.
Cathode ray tube
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The cathode ray tube is a vacuum tube that contains one or more electron guns and a phosphorescent screen, and is used to display images. It modulates, accelerates, and deflects electron beam onto the screen to create the images, the images may represent electrical waveforms, pictures, radar targets, or others. CRTs have also used as memory devices, in which case the visible light emitted from the fluorescent material is not intended to have significant meaning to a visual observer. In television sets and computer monitors, the front area of the tube is scanned repetitively and systematically in a fixed pattern called a raster. An image is produced by controlling the intensity of each of the three beams, one for each additive primary color with a video signal as a reference. A CRT is constructed from an envelope which is large, deep, fairly heavy. The interior of a CRT is evacuated to approximately 0.01 Pa to 133 nPa. evacuation being necessary to facilitate the flight of electrons from the gun to the tubes face. That it is evacuated makes handling an intact CRT potentially dangerous due to the risk of breaking the tube and causing a violent implosion that can hurl shards of glass at great velocity. As a matter of safety, the face is made of thick lead glass so as to be highly shatter-resistant and to block most X-ray emissions. Flat panel displays can also be made in large sizes, whereas 38 to 40 was about the largest size of a CRT television, flat panels are available in 60. Cathode rays were discovered by Johann Hittorf in 1869 in primitive Crookes tubes and he observed that some unknown rays were emitted from the cathode which could cast shadows on the glowing wall of the tube, indicating the rays were traveling in straight lines. In 1890, Arthur Schuster demonstrated cathode rays could be deflected by electric fields, the earliest version of the CRT was known as the Braun tube, invented by the German physicist Ferdinand Braun in 1897. It was a diode, a modification of the Crookes tube with a phosphor-coated screen. In 1907, Russian scientist Boris Rosing used a CRT in the end of an experimental video signal to form a picture. He managed to display simple geometric shapes onto the screen, which marked the first time that CRT technology was used for what is now known as television. The first cathode ray tube to use a hot cathode was developed by John B. Johnson and Harry Weiner Weinhart of Western Electric and it was named by inventor Vladimir K. Zworykin in 1929. RCA was granted a trademark for the term in 1932, it released the term to the public domain in 1950. The first commercially made electronic television sets with cathode ray tubes were manufactured by Telefunken in Germany in 1934, in oscilloscope CRTs, electrostatic deflection is used, rather than the magnetic deflection commonly used with television and other large CRTs
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Oscilloscope
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Other signals can be converted to voltages and displayed. Oscilloscopes are used to observe the change of a signal over time, such that voltage. The observed waveform can be analyzed for such properties as amplitude, frequency, rise time, time interval, distortion, modern digital instruments may calculate and display these properties directly. Originally, calculation of these values required manually measuring the waveform against the scales built into the screen of the instrument, the oscilloscope can be adjusted so that repetitive signals can be observed as a continuous shape on the screen. A storage oscilloscope allows single events to be captured by the instrument and displayed for a long time. Oscilloscopes are used in the sciences, medicine, engineering, automotive, general-purpose instruments are used for maintenance of electronic equipment and laboratory work. Special-purpose oscilloscopes may be used for purposes as analyzing an automotive ignition system or to display the waveform of the heartbeat as an electrocardiogram. Early oscilloscopes used cathode ray tubes as their display element and linear amplifiers for signal processing, storage oscilloscopes used special storage CRTs to maintain a steady display of a single brief signal. CROs were later superseded by digital storage oscilloscopes with thin panel displays, fast analog-to-digital converters. DSOs without integrated displays are available at lower cost and use a digital computer to process. The basic oscilloscope, as shown in the illustration, is divided into four sections. The display is usually a CRT or LCD panel which is out with both horizontal and vertical reference lines referred to as the graticule. In addition to the screen, most display sections are equipped with three controls, a focus knob, an intensity knob and a beam finder button. The vertical section controls the amplitude of the displayed signal and this section carries a Volts-per-Division selector knob, an AC/DC/Ground selector switch and the vertical input for the instrument. Additionally, this section is equipped with the vertical beam position knob. The horizontal section controls the base or sweep of the instrument. The primary control is the Seconds-per-Division selector switch, also included is a horizontal input for plotting dual X-Y axis signals. The horizontal beam position knob is located in this section
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Laser lighting display
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A laser lighting display or laser light show involves the use of laser light to entertain an audience. A laser light show may consist only of projected laser beams set to music, or may accompany another form of entertainment and this inherently more focused beam is also extremely visible, and is often used as an effect. Sometimes the beams are bounced to different positions with mirrors to create laser sculptures, Laser scanners reflect the laser beam on small mirrors which are mounted on galvanometers to which a control voltage is applied. The beam is deflected a certain amount which correlates to the amount of voltage applied to the galvanometer scanner, two galvanometer scanners can enable X-Y control voltages to aim the beam to any point on a square or rectangular raster. A planar or conical moving beam aimed through atmospheric smoke or fog can display a plane or cone of light known as a tunnel effect. A less complicated way of spreading the laser beam is by means of diffraction, a grating splits the monochromatic light into several rays, and by using holograms, essentially complicated gratings, the beam can be split into various patterns. Diffraction uses something referred to as the Huygens-Fresnel principle, the basic idea is that on every wavefront exists a forward propagating spherical wavelet of light. The initial wavefront manifests itself in the form of a straight line, aspects of the spherical waves that divert sideways are cancelled with the sideways components of the wave points on each respect point on either side. Diffraction is the method that many simple laser projectors work. Light is projected out towards multiple points, uninterrupted stationary beams from one or more laser emitters are used to create aerial beam effects, which are turned on and off at varying intervals to create a sense of excitement. As the laser beam is not manipulated in any way, this could be considered the simplest form of a light show. Although this method is not as used today due to the availability of scanners. Some lasers have the potential to cause eye damage if aimed directly into the eye, some high-power lasers used in entertainment applications can also cause burns or skin damage if enough energy is directed onto the human body and at a close enough range. Safety precautions used by laser lighting professionals include beamstops and procedures so that the beam is projected above the heads of the audience and it is possible, and in some countries commonplace, to do deliberate audience scanning. In such a case, the show is supposed to be designed and analyzed to keep the beam moving, Lasers used outdoors can pose a risk of flash blindness to pilots of aircraft if too-bright light enters the cockpit. In the U. S. outdoor laser use is regulated by the FDA. For details, see the article Lasers and aviation safety, maximum Permissible Exposure is the maximum amount of visible laser radiation considered not to cause harm, for a given exposure time. In many European countries these exposure limits may also be a legal requirement, the MPE is 25. 4W/m2 for a period of 250 milliseconds, which is equivalent to 1mW over 7mm circular aperture
