Sculpture

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video
VENUS
2007
Digital Sculpture: The Avatar Botticelli

The aspect that most 'fascinates me about the virtual sculpture project is the possibility of reaching a physical, tangible, with a weight and shape, starting and passing only through mathematical algorithms of software, coagulating nylon powder. It 's strange that the dust that creative with us for a few thousand years is also used technology to create the universe from nothing. The figures are made regardless of an initial physical condition, without clay, marble, bronze. Only one screen. At the bottom of a sheet of paper. But not a sheet that keeps track of the Renaissance Leonardo objects emerged from the "computational power" of the brain of Leonardo, objects that are displayed, communicated through a design which requires to be understood the way down, a return to the initial creation of ' artist to reconstruct our thinking movement of gears and levers which he imagined. A long-distance dialogue. The work area in this case is a sheet which already contains the rules of correct reproduction of nature: you can move, rotate and view a body in any position and it is immediately recreated and displayed without personal intervention of graphic and anatomical knowledge . The knowledge is contained in the software, digital DNA that designs and operates the program. The interaction design is divorced from anatomical knowledge, materials. Without the experience of skilled metal worker, who bakes the clay of the potter, the blacksmith working iron. All these are no longer needed and the knowledge creation process starts from an idea proposed to or from a machine, computer, and ends with an object, for now lifeless and plastic product from another digital system which will act as a sculptor. Demiurgic artist's role to identify and explore the forms and save regularly meets and realized what his imagination. The paths and passages between the various phases are software, and pure thought ntenzione. It adds a new aspect of Benjamin's analysis: In addition to the reproducibility of a work appears in the technical possibility for partial hours, creative autonomy of the artist. Ur-artists will be perhaps necessary to create the basic forms from which the machines take inspiration or they themselves will be able to generate the initial forms to work and create? The instrument of vision, eye or video camera placed in the apex of the triangle Renaissance perspective, fixing a portion of reality is replaced by another tool or technology that receives and interprets, but its autonomy project proposed and emits other "real" Originally coming from the instruments above those in a constant game of mirrors and references. The digital camera already possessing the ability to see now can see. Even visions of such complexity that before his advent could not imagine.

VENUS
2007
Digital sculpure: Botticelli's Avatar

Reflection notes on the work.
The most fascinates me That aspect of the virtual sculpture project is the opportunity to Obtain a physical, tangible object with a weight and a shape, beginning and only passing through a series of Mathematical algorithms and software. The shapes are created apart from an initial physical condition, without clay, marble, bronze. Only a screen. After all a sheet of paper: but not a Leonardesque Renaissance sheet That records the objects surfaced from the "problem-solving power" of Leonardo's mind, objects That Are visualised, Communicated, by means-of a picture Which needs a reverse path to be Understood, to return to the artist's initial creative though in order to rebuild our own thought with the movements of the gears also levers he imagined. A remote dialogue. The working environment in this case is a sheet Already Holds That the rules of the correct reproduction of Nature: one can move, rotate and visualise a body in any position and this is recreated and visualised Immediately without the use of personal knowledge of graphics or of anatomy. The knowledge is contained in the software, the digital DNA of the program and performs That draws. The interaction design is disconnected from the anatomic knowledge, from the materials, from the skilful man foundry, the ceramist who bakes the clay, the blacksmith who the iron works. All These crafts are no longer? Useful, They have disappeared and the creative process begins from an idea Suggested by a machine, the computer, and ends with an object, so far made ​​of plastic and lifeless, created by another digital system That takes on the sculptor's role. The artist is left with the demiurgic role of spotting and discovering the shapes and cyclically saving and what satisfies His imagination materializes. The paths and the steps from one phase to another are only software, well thought and intention. A new aspect can be added to Benjamin's analysis: besides the Reproducibility of a work, now arises Within technique the opportunity, so far only partial, of creative autonomy for the artist. Will Ur-artists be needed to create basic shapes from Which the machines will be inspired or will the machines Themselves Able to be generated upon initial shapes to work and create Which? The instrument of vision: eye, camera or video Placed on the vertex of the triangle Renaissance perspective, which effectively fixes a portion of reality is Replaced by another instrument or Technology Which Does Interprets and receive, but thanks to ITS autonomy-by-design Emits offers and other "reality" originally deriving from the above instruments in a continuous reflection and cross-reference game. The digital machine Already possessing sight Also supply capacity can now sight. Such visions of complexity even before it's Arise That Could not be imagined.

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SUBLIMINAL
2004/2012

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video
HIPPOPOGRAPHO
1974

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