Difference between revisions of "Arts and engineering groups and collectives in CEE"
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| − | + | == Groups and collectives == | |
| + | * [[Dvizheniye]] group, Moscow, 1962/64-1976 | ||
| + | * [[Exat 51]] group in Zagreb ? | ||
| + | * [[ARGO]] group, Russia, early 1970s | ||
| + | * [[Open Form]] in Poland | ||
| + | * [[Theremin Center]] Moscow *1992 | ||
| + | * [[Kinema Ikon]] Arad 1970-2005 | ||
| + | * http://societyofalgorithm.org/B22F/01/index.html | ||
| + | * http://societyofalgorithm.org/B22F/04/index.html | ||
| + | |||
| + | == Czechoslovakia == | ||
* [[Zdeněk Sýkora]] with [[Jaroslav Blažek]], Prague, since 1966, first computer generated line paintings in 1972 | * [[Zdeněk Sýkora]] with [[Jaroslav Blažek]], Prague, since 1966, first computer generated line paintings in 1972 | ||
* [[Jozef Jankovič]] with [[Imrich Bertók]], Bratislava, since 1966/1973, lithographies and serigraphies based on computer-generated drawings | * [[Jozef Jankovič]] with [[Imrich Bertók]], Bratislava, since 1966/1973, lithographies and serigraphies based on computer-generated drawings | ||
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* [[Silver]], *1994, Petr Svárovský, Milan Guštar and Pavel Rejholec. | * [[Silver]], *1994, Petr Svárovský, Milan Guštar and Pavel Rejholec. | ||
* [[Media_art_in_CEE#Electro-acoustic_music_studios_and_societies]] | * [[Media_art_in_CEE#Electro-acoustic_music_studios_and_societies]] | ||
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==Works== | ==Works== | ||
Revision as of 19:16, 7 February 2009
Groups and collectives
- Dvizheniye group, Moscow, 1962/64-1976
- Exat 51 group in Zagreb ?
- ARGO group, Russia, early 1970s
- Open Form in Poland
- Theremin Center Moscow *1992
- Kinema Ikon Arad 1970-2005
- http://societyofalgorithm.org/B22F/01/index.html
- http://societyofalgorithm.org/B22F/04/index.html
Czechoslovakia
- Zdeněk Sýkora with Jaroslav Blažek, Prague, since 1966, first computer generated line paintings in 1972
- Jozef Jankovič with Imrich Bertók, Bratislava, since 1966/1973, lithographies and serigraphies based on computer-generated drawings
- Jaroslav Frič with Josef Svoboda (Polyvision, 1967); Jaroslav Frič with Radúz Činčera (Kinoautomat, 1968)
- composer and theorist Alois Piňos with graphic artist Dalibor Chatrný, created four audiovisual compositions in 1969-71: Statická kompozice (for electronic music and slides, 1969), Mříže (for piano and film, 1969), Geneze (for chamber ensemble and film, 1970), Adoration (composition utilizing pendent plastic objects made to ring in different ways, 1970).
- Milan Grygar with musical theorist Vladimír Lébl, exhibition for the festival of experimental music in Smolenice, 1970
- Petr Kotík with Jan Kučera, at Buffalo University, 1971-1983
- Juraj Bartusz with Vladimír Haltenberger, Bratislava, since 1973, manufactured sculptures based on computer-generated curves
- Daniel Fischer with computer engineers Pavol Fischer and Igor Klačanský, Bratislava, since 1975, computer morphing line drawings
- Milan Guštar has been providing technical support for the works by David Černý, Silver, Federico Díaz, Miloš Vojtěchovský, Michael Bielický and others since 1987.
- Transmusic comp. group, 1989-1996.
- Silver, *1994, Petr Svárovský, Milan Guštar and Pavel Rejholec.
- Media_art_in_CEE#Electro-acoustic_music_studios_and_societies
Works
Josef Svoboda, Laterna magika, 1958
Josef Svoboda, Laterna magika, 1958
Josef Svoboda, Laterna magika, 1958
Zdeněk Sýkora, Gray Structure, oil on canvas, 150 x 120 cm, 1962-1963.
Zdeněk Sýkora, Black-white Structure, oil on canvas, 220 x 110 cm, 1966.
Josef Svoboda, Jaroslav Frič, Polyvision, 1967. © Josef Svoboda, Jaroslav Frič
Josef Svoboda, Diapolyecran at the Czech Pavilion at Expo 67. Each square is a self-contained automatic slide-projector unit. Through careful programming the images appear either isolated or unified.
Josef Svoboda. A fractured image on the Diapolyecran. The image can move as in film (through the extremely rapid changing of slides) or appear static in any kind of mosaic formation.
Josef Svoboda. The slide-projector equipment bank of the Diapolyecran. Each of 112 projectors was mounted on its own carriage which could take position in one of three places. The slide image and movement program was memorized on tape and controlled from a central booth not pictured.
Josef Svoboda, Polyecran, 1967
Josef Svoboda, Polyecran, 1967
Radúz Činčera, Kinoautomat One Man and his Jury, 1967
Radúz Činčera, Kinoautomat, 1967
Radúz Činčera, Kinoautomat, 1967
Zdeněk Sýkora, Black-and-White Structure, ceramic mosaic (detail), 530x350cm, 1969. The composition of the pattern was computed with a program on a LGP-30 (German) computer.
Zdeněk Sýkora, geometrical elements used in the paintings Black-white Structure.
Zdeněk Sýkora, the placement of initial elements and the assignment of color density ratings supplied among the instructions to computer for the painting Black-white Structure.
Zdeněk Sýkora, computer results for the painting Black-white Structure (based on Rule 2, coefficient c = 0.75). Underlined numbers refer to the initial elements.
Zdeněk Sýkora, Multi-colored Structure, oil on canvas, 200 x 160 cm, 1969.
Juraj Bartusz, retrospective exhibition in Košice, aluminum art objects from 1973-74. (Photo: Milan Bobula) The objects were made according to computer drawings utilizing boundary curves generated by the HP 9030A computer.
Juraj Bartusz, Time and Space Sculpture, aluminum, 52 cm, 1974. This adjustable sculpture was created according to instructions generated by an HP 9030A computer. Algorithm and program: S. Haltenberger.
Miroslav Klivar, Structure II, computer drawing using pen plotter, 21 x 28 cm, 1979. (Collection of the National Gallery of Prague)
Jozef Jankovič, exterior design for a general hospital in Bratislava IV, colored aluminium and epoxy, 6 x 6 m, 1981-1982. The artwork was created according to computer drawings using the PDP11 computer and the Calcomp plotter. Each column shows the morphing of an outline of part of the human body into an electrocardiograph signal.
Daniel Fischer, Scribbling in the Sky, from the series Images-Poems, mixed-media computer serigraph with oil paint, 75 x 58 cm. The first version of this work was created in 1982.
Daniel Fischer, The Cubist's Pictures Can Be Read Like a Modern Poetry, serigraph, 1983. From the series Images-Poems, this artwork was generated by the CDC3000 computer and the Calcomp plotter. The artist used an earlier version of the image to create an oil painting in 1982.
Jozef Jankovič, interior design at the general hospital in Bratislava III, cast sand and epoxy, 3 x 3 m, 1984-1985. (Photo: Ivan Hoffman) The casting form was produced from computer drawings using the SM4 computer and Calcomp plotter.
Zdeňka Čechová, offset-printed design, 8.5 x 10 cm, 1986. Čechová made similar computer-generated patterns for textile designs and book illustrations.
Zdeňka Čechová, Sand Storm, computer drawing, 21 x 28 cm, 1991. This drawing was printed on a dot-matrix printer using the author's program.
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Literature
- Martin Šperka, "The Origins of Computer Graphics in the Czech and Slovak Republics", Leonardo, Vol. 27, No. 1 (1994), pp. 45-50 [1]
- Jarmila Doubravová, "Music and Visual Art: Their Relation as a Topical Problem of the Contemporary Music in Czechoslovakia", International Review of the Aesthetics and Sociology of Music, Vol. 11, No. 2 (Dec., 1980), pp. 219-228 [2]
- Zdeněk Sýkora, Jaroslav Blažek, "Computer-Aided Multi-Element Geometrical Abstract Paintings", Leonardo, Vol. 3, No. 4 (Oct., 1970), pp. 409-413 [3]
- Libor Zajíček, "The History of Electroacoustic Music in the Czech and Slovak Republics", Leonardo Music Journal, Vol. 5, (1995), pp. 39-48 [4]
- http://www.ekac.org/dialogicimag.html
- Jarmila Doubravová, Hudba a výtvarné umění, Prague: Academia, 1982
