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   avant-garde movies, motion graphics, and theory

Technological Failure

story © Michael Betancourt | published January 7, 2005 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



Theory

Any technology dependent art is subject to two kinds of technological failure. The first is familiar and obvious: those glitches, stoppages, etc. that happen when our technology fails to work properly; the second comes in the form of obsolesence, the failure of technology due to its having been replaces, revised, updated or otherwise pushed out-of-use. The greatest problem for all tech-dependent art is what happens when the second of these has come to pass and it is no longer possible to view the art because the tech it depends upon no longer exists? We are already seeing the early stages of this with art that relies upon the internet for its existence, or that depends upon particular software/hardware combinations (punchards, 8-inch floppy disks, etc.) that are no longer in use.

The fate of any tech-dependent art work is ultimately one of staying live or vanishing all together.






 

Vertical and Horizontal Time

story © Michael Betancourt | published May 12, 2004 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



Theory
Typically we move between both the vertical and horizontal poles of looking in relation to time, even within a single frame.




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Fractals and Art

story © Michael Betancourt | published May 11, 2004 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



Theory
It is possible to create visual art using fractals as a reference point without necessarily using the fractals themselves.


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In/Visible Light

story © Michael Betancourt | published May 10, 2004 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



Theory
Our visual experiences of the world begin with our ability to see light.


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Pixel Pointillism

story © Michael Betancourt | published May 9, 2004 | permalink | TwitThis Digg Facebook StumbleUpon  |  Print



Theory
This week I was again struck by how much pixels have in common with the pointillist dots in paintings: small, atomic bits that together create an image through optical mixing: that is, the dots merge with distance to form an apparent continuity.




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