Interventions, Productions and Collaborations:the relationship between RAI and visual artists

On 17 May 1952, before RAI Radiotelevisione Italiana Studios began their regular broadcast from Milan, the Spatialist painter and sculptor Lucio Fontana broadcast his own experimental 'artwork' on Italian television, beginning a fruitful relationship between RAI and visual artists. For some, such as the painter Mario Sasso and the Arte Povera artist Pino Pascali, it provided careers as designers and art directors. For others, such as Carlo Quartucci and Gianni Toti, who were given unique access to RAI's television apparatus, it was an opportunity to explore their own artistic experimentations with an expensive and exclusive medium. RAI also hosted seminal artists' performances on-screen including John Cage and Fabio Mauri. This article, based on documents and interviews collected during the Arts and Humanities Research Council-funded project REWINDItalia, discusses these and other seminal cases as well as tracing and assessing the history of this fruitful and complex exchange between RAI and visual artists

Higher level techniques for the artistic rendering of images and video

EThOS - Electronic Theses Online ServiceGBUnited Kingdo

Assessing Creativity: A Test for Drawing Production using Digital Art Tools The concept, application and assessment of digital art teaching as a means of enhancing creative proficiency

This paper describes the Test for Creative Thinking - Drawing Production (TCT-DP), including its design, concept and mode of assessment, and the practical consequences of its application in a specific context. The test was used to evaluate the performance of groups of students as part of a case study exploring the use of digital art tools for drawing in a junior school. The students used specific digital art software via both computers and tablets, and also drew manually using a variety of devices. TCP-DP evaluates drawing production by means of a set of 14 criteria. At the same time, this study used the Technology Acceptance Model (TAM) theory to assess the ease of use and usefulness of the digital tools. The test was trialled with students aged 9-10 years in different ability groups. There were no significant differences in performance between male and female participants. Details of various related studies, together with data concerning the reliability and validity of the TCT-DP test, are also provided. The study finds that motivation is an important factor in improving young people’s artistic ability

Leveraging Sound, Space and Visual Art in an Installation

Because of my distrust for self-expression through verbal language, my pursuit thus far in art has been to discover a satisfactory means of self-expression. In study of the work I’ve created across all mediums, through poetry, music and visual art, this desire for a satisfactory outlet of self-expression has resulted in a drive to create meaning through combining mediums. Throughout this semester, my interest in mixed mediums has resulted largely in experimentation with the combination of music and visual art, as well as exploring the standalone merit of each. This also entails a study of their overlaps, cooperative influence, and the effectiveness in establishing comprehensible and replicable patterns with which artists can make themselves understood. The installation Hyper Vigilant leverages the three-wall space provided, the graffiti-like, cartoonish imagery, and the soundscape (which combines chatter and music) to create an environment in which the feelings I experience in an episode of panic, or in a bout of anxiety are fully represented. This paper will discuss the use of a combination of sound, visual art and space in an installation, through an exploration of the art theory, and a discussion of precedents. It will ultimately culminate in an examination of the installation at hand

Let wildlife live: A Computer illustrated calendar of endangered species

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Image Automation: Post-Conceptual Post-Photography and the Deconstruction of the Photographic Image

This PhD thesis delivers an artistic research practice based on a deconstruction of the photographic image. Photography in post-photographic, digital culture has, due to changes in technology, become a matter of style while neglecting its own traditional process base. This thesis claims that similar automated processes can be found within information technology, which in the artistic realm has a strong relation to Conceptual art. A post-conceptual critique of the notion of ‘information’ in Conceptual practice allows for a repositioning of the image. Focusing on visual, transformative reflection, the thesis resists the temptation to present generalising philosophical speculation in favour of an artistic research practice that focuses on the inner, transformative workings of artworks, or the work’s ‘figuration’ as I call it, following Jean-François Lyotard and Georges Didi-Huberman. This research project offers an artistic interrogation into the potential of post-photographic practices under post-conceptual conditions. Apart from photography, the practice employs drawing, installation art, painting and printmaking to produce work that is often conceptually developed on the computer. Much of the work consists of abstract, blob- like ‘figures’ appropriated from digital-image material, while other work is measurement- based. Figuration is advanced in each of these through constructive processes that remain visible. A developed understanding of process-oriented practices within the digital realm, which this PhD offers, allows present-day photography to connect to its traditional diversity. The necessary re-thinking of the image, which is a key result of the research, may affect artistic practices beyond photography, giving an extended contemporary photographic practice increased artistic relevance. The research is supported by art-historical discussions concerning the history of photography, the history of Conceptual art, and what Svetlana Alpers calls ‘the northern mode’ of painting. Technical discussions of post-photography and the notion of ‘information’ help clarify underlying processes, while philosophical considerations are used to give meaning to a changed concept of the image. Finally, a methodological discussion contextualises the research within current notions of practice-led research

Revisiting Richard Hamilton’s typo-topography of Marcel Duchamp’s Large Glass

The production of fine art prints has a longstanding relationship with the collaborative print studio, where artists work together with master printers to realize and produce printed artworks. The collaboration between artist and print studio has predominantly been one of facilitation, where the artist is able to access specialist equipment and technical expertise with the tools, materials and operations of a particular print studio. What this involves and what the relationships are has varied between print studios and even between the master printers of a studio. This article will discuss the production of an inkjet printed edition for the artists Richard Hamilton using the collaborative print studio model within a University setting

Assessing Creativity: A Test for Drawing Production using Digital Art Tools

This paper describes the Test for Creative Thinking - Drawing Production (TCT-DP), including its design, concept and mode of assessment, and the practical consequences of its application in a specific context. The test was used to evaluate the performance of groups of students as part of a case study exploring the use of digital art tools for drawing in a junior school. The students used specific digital art software via both computers and tablets, and also drew manually using a variety of devices. TCP-DP evaluates drawing production by means of a set of 14 criteria. At the same time, this study used the Technology Acceptance Model (TAM) theory to assess the ease of use and usefulness of the digital tools. The test was trialled with students aged 9-10 years in different ability groups. There were no significant differences in performance between male and female participants. Details of various related studies, together with data concerning the reliability and validity of the TCT-DP test, are also provided. The study finds that motivation is an important factor in improving young people’s artistic ability

Art, Maths, Electronics and Micros: The Late Work of Stan Ostoja-Kotkowski

To date, most work on computers in art has focused on the Algorists (1960s–) and on later cyber arts (1990s–). The use of microcomputers is an underexplored area, with the 1980s constituting a particular gap in the knowledge. This article considers the case of Polish-Australian artist, Stan Ostoja-Kotkowski (b. 1922, d. 1994), who after early exposure to computers at the Bell Labs (1967), returned to microcomputers late in his life. He was not a programmer yet used micros in his practice from the early 1980s, first a BBC in his BP Christmas Star commission, and later a 32-bit Archimedes. This he used from 1989 until his death to produce still images with a fractal generator and the ‘paintbox’ program, “Photodesk”. Drawing on archival research and interviews, we focus on three examples of how Ostoja deployed his micro, highlighting the convergence of art, maths, electronics, and a ‘hands-on’ tinkering ethic in his practice. We argue that when considering the history of creative microcomputing, it is imperative to go beyond the field of art itself. In this case, electronics and the hobbyist computing scenes provide crucial contexts.</p