The Text
Art History and the Criticism of Computer-Generated Images by James Elkins
James Elkin’s essay posits that the techniques used in computer-generated images are not new and in fact can be traced to the history of painting. By positioning the techniques, such as spatial practice and visualization through historical painting, Elkins brings to the surface issues of ‘newness’ and a critical assessment of our prejudices towards the computer generated image. Of interest in this article is Elkins’ use of Still Lives to exemplify how shadow and placement of objects are carried over into computer-generated works. Importantly, Elkins frames the understanding of spatial practice within a computer-generated picture through historical, i.e. Renaissance techniques of perspective. However, Elkins brings the corollary of perspective painting to Euclidian geometry, which he points out is how computer generated images function. It is also within the Euclidian nature of our spatial practice that Elkin’s clarifies the idea of visualization, the use of geometrics, as our understanding of spatial practice both earlier and in present technologies. Elkin’s article belies a weariness of the ideology of the ‘new’ in new media, and he reminds the reader that ‘new media’ is always isolated at the beginning, but in fact carries with it the techniques of previous technologies.
Elkins, James. “Art History and the Criticism of Computer-Generated Images”. Leonardo, Vol. 27, No. 4 (1994), pp. 335-342
The Technology
From Elkins Article.
Franciso de Zubaran, Bodegon Cambo, 1633
Woodrow Barfield,Demonstration of Lambert, Phong and Blinn Computer rendering.
External Sites of Interest
About Computer Generated Imagery
About James Elkins
Computer Rendering Techniques
The Text
Video, Networks and Architecture: Some Physical Realities of Electronic Space by Kathy Rae Huffman
Huffman’s essay posits that visual spatial practice in the digital age requires what Virillio calls the spatial transparency, that is the data information that forms the spatial practice of the digital imagery… “are conceptually embedded in the intelligent mechanisms that exist independently…”(200). In a sense the material of data, and the mechanisms required to create digital images create a transperancy in the ability to create, disseminate and experience these forms. Huffman analyzes her thesis through, architecture or more accurately the notion of cinematic architecture, wherein the architecture is affected by cinematic ideology. She further posits that the advent of accessible film, VHS recording technologies in the 1980’s ushered in a new understanding of spatio-temporal sites of memory. That is memory becomes as a linear, progressive thing, instantly viewed and categorized. For Huffman, the problems of digital technology and visual representation are problems that become apparent in the limiting of the data scape that confines the artists’ ability to… “explore and to understand new spatial realms.”(207).
Huffman Kathy Rae. “Video, Networks and Architecture: Some Physical Realities of Electronic Space.” Electronic Culture; Technology and Visual Representation. Ed. Timothy Druckery. New York: Aperture Foundation Books. 1996, pp. 200 – 208
The Technology
External Sites of Interest
Kathy Rae Huffman faculty page at RPI
Interview with Kathy Rae Huffman at Nettime.org
The Text
The Automation of Sight: From Photography to Computer Vision
Lev Manovich’s essay, “The Automation of Sight: From Photography to Computer Vision ” situates historically the development of machinic vision as automated and directly related to the industrial revolutions mass automation of societal functions. Furthermore, he posits that this development in vision is predicated on the use of perspectival sight and can be mapped historically through the development of technology. The trajectory of this mapping for Manovich runs through the Renaissance adaptations of perspective, the spectrograph, the pantograph and the Camera Lucida amongst others. Manovich then extrapolates the development of machinic and perspectival vision through the development of 3-D computer vision that he historically situates in aircraft landing technology developed in the 1960’s by Lawrence G. Roberts. He posits that 3-D computer vision created a “second stage of the automation of sight” that is defined by multiple points of view (232). Importantly, this development for Roberts amplifies the need of computer’s ability to automate sight, which for Manovich replaces human sight through computer vision. Manovich terms this development “geometric vision”(239), and although he privileges it as the final outcome of automated vision, he also places it as a just one technique among many.
Manovich, Lev. “The Automation of Sight: From Photography to Computer Vision.” Electronic Culture; Technology and Visual Representation. Ed. Timothy Druckery. New York: Aperture Foundation Books. 1996. pp.229-239
The Technology
Spectograph from the Walter Nerst Museum
Camera Lucida Nasa 1960's simulato
External Sites of Interest
Lev Manovich website
Lawrence Roberts on Wikipedia