Browsing by Author "Edmonds, Ernest"
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Item Open Access Algorithmic Art Machines(MDPI AG, 2018-01-15) Edmonds, ErnestThe article reviews the author’s personal development in relation to art made by algorithmic machines and discusses both the nature of such systems and the future implications for art.Item Metadata only Algorithmic Signs(Fondazione Bevilacqua La Masa, 2017-10-19) Edmonds, ErnestInvited participant in an exhibition of the work of five pioneers of computer-based art. Ernest Edmonds, Manfred Mohr, Vera Molnar, Frieder Nake, Roman VerostkoItem Embargo Art and Code: Programming as a medium(Springer, 2020) Edmonds, ErnestComputer programming is more than a tool for the artist. Writing code is manipulating a medium: a medium that is like no other. This chapter discusses the importance of coding and shows how it is enabling principled investigations into inventing new forms, creating new experiences and extending the nature of engagement with art works. It shows how formal ways of making art, from perspective to the 20th century use of systems, geometry and mathematics, have pointed to the value of programming. This is a direction that has defined the work of a range of artists. The chapter discusses the use of the medium of code by artists who talked about their art making process. They include pioneers Aaron Marcus, Harold Cohen and Manfred Mohr and other artists, some of whom are live coding practitioners.Item Open Access The Art of Interaction(British Computer Society, 2010-06-30) Edmonds, ErnestInteractive art has become much more common as a result of the many ways in which the computer and the Internet have facilitated it. Issues relating to Human-Computer Interaction are as important to interactive art making as issues relating to the colours of paint are to painting. It is not that HCI and art necessarily share goals. It is just that much of the knowledge of HCI and its methods can contribute to interactive art making. This paper reviews recent work that looks at these issues in the art context. In interactive digital art, the artist is concerned with how the artwork behaves, how the audience interacts with it and, ultimately, in participant experience and their degree of engagement. The paper looks at these issues and brings together a collection of research results and art practice experiences that together help to illuminate this significant new and expanding area. In particular, it is suggested that this work points towards a much needed critical language that can be used to describe, compare and discuss interactive digital art.Item Metadata only The art of interaction(Taylor and Francis, 2010) Edmonds, ErnestItem Embargo The Art of Interaction: what HCI can learn from interactive art(Morgan and Claypool, 2018) Edmonds, ErnestWhat can HCI learn from art? How can the HCI research agenda, be advanced by looking at art research? How can we improve creativity support and the amplification of that important human capability? This book aims to answer these questions. Interactive art has become a common part of life as a result of the many ways in which the computer and the Internet have facilitated it. Human-Computer Interaction is as important to interactive art as mixing the colors of paint are to painting. This book reviews recent work that looks at these issues through art research. In interactive digital art, the artist is concerned with how the artwork behaves, how the audience interacts with it and, ultimately, in participant experience and their degree of engagement. The book examines these issues and brings together a collection of research results from art practice that illuminates this significant new and expanding area. In particular, this work points towards a much-needed critical language that can be used to describe, compare and frame research in HCI support for creativity.Item Open Access Art Systems: 1968 to 2018(ACM Press, 2018-08-10) Edmonds, ErnestIn this note I describe my personal development of art systems over 50 years. In all of this work I have used computers and computational processes both to make the works and to advance my conception of art. This history is marked by a trace of publications in the journal Leonardo, which is itself 50 years old. I will relate the story with specific reference to these publications. Each of the following sections relates to one Leonardo publication and includes quotations from that paper. This is an invited contribution to SIGGRAPH 2018 - an exhibition contribution and a paperItem Embargo art: notes and works(Boco, 2022-11-01) Edmonds, ErnestErnest Edmonds has an unusual track record as an artist. Having been deterred from studying art by teachers and artist friends, he decided to study mathematics and later logic because he found them easy, and he thought, not unreasonably, that this would allow more time for painting. It turned out that the logic was itself useful in his art and led to an interest in computing. He first used computers in his art practice in 1968 and has been making art with computer code since then. But it is the influence of the Concrete and Constructivist art traditions, with strong affinities to colour field work, that underpin his work. From structure defined in code, comes the visual power and the time-based interactive elements which give his work its unmistakeable signature. Ernest is well known as a major contributor to the development of computational art. His work represents an important landmark in the field of generative and interactive art which was recognised by the 2017 ACM SIGGRAPH Distinguished Artist Award for Lifetime Achievement in Digital Art and the 2017 ACM SIGCHI Lifetime Achievement Award for the Practice of Computer Human Interaction, demonstrating his breadth from art to computing.Item Metadata only Artist, evaluator and curator: three viewpoints on interactive art, evaluation and audience experience(Taylor and Francis, 2009) Bilda, Zafer; Muller, Lizzie; Edmonds, ErnestItem Embargo Automatic Art(GV Art, 2014-07-03) Edmonds, ErnestExhibition of UK systems and software art - historical surveyItem Open Access Beyond abstract film: constructivist digital time(British Computer society, 2010-07-05) Edmonds, ErnestThe paper reviews aspects of abstract films and the notions of time that occur in them. A series of developments by the author in making various generative digital abstract, or concrete, works are described and compared to film. The generation of the time element of the works described is integral with the generation of images. It is shown how different approaches to dealing with time in the digital context have emerged. In particular, an integrated constructivist approach has built from concepts in abstract film to go beyond cinema in a way that makes significant use of digital media.Item Metadata only Códigos Primordiais (Primary Codes)(Oi Futuro Flamengo, 2015-06-15) Edmonds, ErnestExhibition of the work of four pioneers of computer based art: Ernest Edmonds. Harold Cohen. Frieder Nake, Paul BrownItem Open Access Communication Machines as Art(MDPI, 2019-02-09) Edmonds, ErnestThe paper presents a personal history of making machines as artworks. The particular kind of art machines that have been made since around 1970 are communication machines: ones that enable humans to interact with each other. However, they do not provide communication in the normal sense, but use a small bandwidth for relatively complex connections, making the experience of the interactions the art experience. The paper concludes by explaining how it later became possible to use computer networking and the INTERNET to make artworks that were more complex and, in part, autonomous generative machines whilst retaining the earlier communication machine functions.Item Metadata only Constructive Computation(MIT Press, 2009) Edmonds, ErnestItem Metadata only Constructs:Conducts(ACM Press, 2018-04) Edmonds, Ernest; Greasley, PipConstructs:Conducts is an immersive interactive work for Montreal’s Satosphere Dome. The audience is immersed in a color and sound space. This work involves assigning each element to a single track of a multi-track recording device with up to a maximum of 96 different tone colours assignable per colour image. By manipulating the fader controls on a mixer desk, each sound can be blended to create one overall colour tone of evolving complexity. Each of the visualised colour hues are assigned one overall tonal mass with minute shifts in timbral values and locative displacements. The work is symbolic of the artists’ respective fields of enquiry into colour for the Post-digital Futures.Item Metadata only Designing a System for Supporting the Process of Making a Video Sequence(Springer, 2008) Amitani, S.; Edmonds, ErnestItem Metadata only Designing and evaluating virtual musical instruments: facilitating conversational user interaction(Elsevier, 2008) Johnston, Andrew; Candy, Linda; Edmonds, ErnestItem Metadata only Designing for creative engagement(Elsevier, 2008) Bilda, Zafer; Edmonds, Ernest; Candy, LindaItem Metadata only Emergence and the art system ‘plus minus now’(Elsevier, 2008) Seevinck, Jennifer; Edmonds, ErnestItem Metadata only Evaluation in Public Art: The Light Logic Exhibition(Springer, 2014-06-01) Ximena, A; Askaroff, K; Candy, L; Edmonds, Ernest; Faram, J; Hobson, GThis chapter is concerned with evaluation in public art, drawing on a study of Light Logic , an exhibition of drawings, paintings and interactive digital works, conducted by Site Gallery, Sheffield in association with UK and Australian researchers. Evaluating public art requires methods that suit the needs of practitioners undertaking novel types of art projects. The practitioners involved are curators, artists and gallery personnel with responsibility for different aspects of the complex business of creating and installing an interactive gallery show. The chapter describes the evaluation study, including the planning and preparation that was undertaken by the gallery staff and the researchers, the information gathering methods, as well as reports on the results from a number of points of view. In particular, advice is drawn from the study that can inform further evaluation exercises in public galleries.
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