Ad Mag

Archive for February, 2009|Monthly archive page

Eric Heller, the Art of Physics

In Art, Feature on February 28, 2009 at 3:14 am
Rotating 2 by Eric Heller

Rotating 2 by Eric Heller

__________________________________________________

Eric Heller

– The Art of Physics –

__________________________________________________

- preface -

Nicola Tesla, the supreme inventor of the 20th Century who was awarded over 700 patents in his lifetime, from 1856-1943, was quoted as saying “Science is but a perversion of itself unless it has as its ultimate goal the betterment of humanity.”

Tesla’s right. It’s true.

And while there are those in the art world (proper) who continue to maintain this ridiculous notion that art in and of itself is a good thing — a virtue — they may have gotten it all wrong. For art devoid of connection and intimacy is a hollow ideal based on vanity, gross self-indulgence and falsehood; a preoccupation with ego. Too, in many instances, these are the same individuals who also hold in their minds the antiquated notion that art and science do not mix.

How arrogant — absurd.

All art has a valid source. And should that source be from science, then so be it; so long as its ultimate goal is for the betterment of humanity, and not a simpleminded act of vanity.

Is this not what Tesla was talking about?

So recently, when I happened upon a friendly chat with physics professor and artist extraordinaire, Eric Heller, aside from his relaxed and charming personality, I was astounded to find that he had given thought to these same timeless principles — art, science, imagery, intimacy.

In this exclusive AD Mag Feature, we turn to a succession of quotes from Eric Heller.  a professor of physics @ Harvard University.  We intermingle his phrophetic words with his lyrically-rendered, color rich wavescapes of quantum emulations — nano-electro microcosms.

***

– The Art and Opine of Eric Heller

Caustic 4

Caustic 4

______________

“If 18th and 19th century painters could paint a scene that they interpreted for others, that scene being of or about a lake, a pond, landscape or lover, why can’t I paint a scene about science. the art of science; an inner [unseen] landscape? So, I’m simply using the properties of electron flow or chaos, as a medium of which to paint objects”

______________

Transport 11

Transport 11

______________

“It is also about bringing the direct imagery or an interpretation for observers who weren’t there themselves”

______________

Bessel 21

Bessel 21

______________

“Views of doing art, needs to have a point…beyond the shock factor — beyond the insider self-involvement”

______________

Rogue 1

Rogue 1

______________

“I’m not a part of the hardcore New York art world, and I really don’t care to be”

______________

Transport 2

Transport 2

______________

“What I’m doing is all very natural, getting back to the source; referencing another style of art, or something found in nature”

______________

– Find Professor Heller on the Web –

Caustic 1

Caustic 1

http://www.ericjhellergallery.com/

http://www-heller.harvard.edu/nanowire.html

http://www.physics.harvard.edu/people/facpages/heller.html

###

- Max Eternity
Advertisements

: Ansen Seale : Slitscan Photography

In Feature, Interview on February 27, 2009 at 7:22 pm

Unfolding #10 (plumeria)
Unfolding #10 (plumeria)

***

“Rather than suspending a single moment, my photography examines the passage of time”

Ansen Seale

________________________________________

From San Antonio, Texas comes a wonderful photographer who captures the “beautifully bizarre” using a stylistic technique known as slitscan. AD Mag recently had the chance to interview him. This is what transpired:

________________________________________

Astronaut by Ansen Seale
Astronaut by Ansen Seale

An Interview With Ansen

***

Max: First let me say how seductively beautiful I think your work is.  And — when I look at your work, even though it appears to be photographic, the pieces also have a “painted” quality. Is that deliberate; how is it achieved?

Ansen: Thank you. This is 100% pure photography. The reason the look is so different is that I’ve changed the rules about the way a camera works. In a nutshell, still (non-kinetic) things are blurred. Moving things are clear.

Max: On the issue of “slit-scan photography”, I think I kinda have an idea of how this process works, but would you take a moment and explain it to the readers.

Ansen: My digital slitscan camera exchanges the horizontal spatial dimension of X with the dimension of Time. This is done by imaging only the Y axis (a vertical line of pixels) of the same scene over and over again, up to 500 times per second. The internal processor of the camera arranges these pixel columns side by side, building up the horizontal dimension of the picture plane over time. The images are time exposures in the horizontal direction and snapshots in the vertical.

Only moving or changing objects register clearly. Still objects are rendered as horizontal lines across the picture plane. This is the opposite of what you would expect with traditional photography where moving objects are blurred and still objects are clear.

So, in effect, my images violate two of the most important rules of traditional photography—(1) single point perspective and (2) the freezing of the “slice of time”, or what is sometimes called the “decisive moment”. Without these visual anchors, we are free to drift and explore in time and space.

Max: How long have you been a photographer…and artist?

Ansen: I’ve been an artist and photographer for 25 years. I graduated from Trinity University, here in San Antonio, Texas with a degree in Studio Art and Communications.

Max: Do you now or have you ever worked in other types of media beyond photography.

Ansen: I studied printmaking in my college years and I still find it very satisfying. With the demise of the wet darkroom, I find myself gravitating back to printmaking, both digital and serigraphy (silk screen). My most recent work in this area is called “Bloodlines” and can be accessed here: http://ansenseale.com/bloodlines/index.htm

In this series, I use my own blood as ink.

Max: When I initially contacted you a few weeks back, you and I had a brief email discussion about an artistic articulation, which I call TADAE. At that time you said that you definitely feel into the category of the TADAE creative subset. You seem to embrace the concept. And I think it certainly fits well. But, could you tell us in your own words why you came to identify with this creative understanding…TADAE?

Ansen: I use the computer as a tool, just as traditional artist use brush and canvas. But the computer IS NOT just a digital sketchpad! It can be exploited in completely different way from traditional art making. Adapt or die. This is the way the natural world works and I take it as my own personal mantra. The fact that I grew up “traditional” and became “digital” leads me to believe that we (as TADAE) may be already a vanishing breed.

Max: So, there was a sentence that caught my eye when I was reading over your artistic statement on your website where you say “I tease out this unusual reality lurking just beneath the surface of our everyday visual experience…” It’s a fascinating idea; an interesting perspective. Could you talk more about this?

Ansen: When I decided to explore this strange world of the slitscan image, knew that simple, identifiable subjects would work best, at least in the beginning. When you have a complex visual phenomenon like this, it is best described by simple, time-honored subjects like the nude, the still life, landscapes, etc. The subjects are recognized, but there is also a recognition that the visual rules have changed.

My intention is not to disorient the viewer, but simply to present another version of reality. My images are not manipulated. This is the way the camera sees. I have not touched them up in Photoshop at all. They come from the camera as you see them.

I am fascinated by the idea that what we experience every day may not be reality at all. We know now, for example, that on an atomic level, our bodies contain more space than matter. Our view of the world is hopelessly egocentric. By changing a few simple rules about the way we think a camera should work, I can play with that egocentric notion…the way I see is the way it is!

Time is the real subject of my work. The objects shown are just the “carriers of time” in the same way that a tree bending and swaying carries the idea of wind, even though we can’t see the air.

Max: And thoughts about our digital future?

Ansen: I think the distinction between digital and traditional is nearly thing of the past. The things that still matter most in art, perception, feeling, a connection with the natural world, sensitivity to others, poetry. These are universal ideas hard-wired into our brains and will always find a way to come out. I am also very excited by ideas like SETI@home and other global networking possibilities, but even such an idea like contact with a species outside our solar system only leads us back to our own humanity and our need to communicate.

Max: You hold a beautiful vision, and others would be wise to share your views. Thanks for talking with AD Mag, its been a good experience.  And to the AD Mag readers, be sure to visit Ansen’s website by clicking here.

***

Unfolding #14

Unfolding #14

View more of Ansen’s work in the AD Mag Artist Galleries.

- Max Eternity

Introducing : Ivarsdotter

In Art on February 12, 2009 at 7:15 pm

"Grow" by Backa Carin Ivarsdotter

"Grow" by Backa Carin Ivarsdotter

***

Rarely does one find an artist who is as comfortable with a span of media and substrates, ranging from glass to light to ceramic to electronic ink and virtual illustrations. But alas, she exists. From Sweden, AD Mag presents:

Backa Carin Ivarsdotter

Backa says:

“I make it by hand. Every piece. And often it is made in porcelain or glass. It take some time to do my installations, but I have to make it myself to have the control”

____________________________________

Coming up in Spring 2009, Backa will be exhibiting along with American artist Brandon Boan. The show, in Nelsonville, Ohio, opens on the 27th of April at the Starbrick Clay Fine Art Gallery.

____________________________________

To learn more about this artist, please visit:

http://www.nordicsculpture.com

***

- Max Eternity 2009

Electronic Space Print

In News on February 7, 2009 at 4:30 am

- click image to access document -

- click image to visit site -

***

“Electricity exists in our bodies and in nature Thus, it stands to reason that the eco, geo, bio and digital can live as one — symbiotically, happily, peacefully, in harmony”

***

E / S / P

by Max Eternity
_________________________________________________

– Electronic space Print –

***

Though in the Introduction of my first, peer-reviewed white paper, Collecting Digital Prints, I use a quote from a fine art print specialist, the late Yale University artist and art historian, Gabor Perterdi — because it is such a compelling statement — I feel inclined to included it in this document as well. For it is my observation that Mr. Perderdi — many years back — saw the writing on the wall; that printing and fine art prints were continuing – as they had in the past – to evolve, requiring new analytical critiques, nomenclature and identifying, attribution verbiage. In that quote, reprinted by Encyclopedia Britannica, Mr. Perterdi states:

Certain modern processes for reproducing texts and illustrations, however, are no longer dependent on the mechanical concept of pressure or even on the material concept of colouring agent. Because these processes represent an important development that may ultimately replace the other processes, printing should probably now be defined as any of several techniques for reproducing texts and illustrations, in black and in colour, on a durable surface and in a desired number of identical copies. There is no reason why this broad definition should not be retained, for the whole history of printing is a progression away from those things that originally characterized it: lead, ink, and the press.

So, is space a durable surface? Of course it is. We know this, because purchasing goods — through electronic, financial transactions — over the Internet – in Cyberspace – costs the same, renders the same result, as purchasing the same goods in person. With, information transmitted over a computer, fax or phone, being just as valid – just as durable — as information transmitted in a face-to-face conversation.

Edging our way from the ashes of manufacturing and industry — to the full embrace of intellectual property, recycling, electronic commerce and clean [weightless? Spaceless?] energy sources like solar and wind power — with the slow phasing-out of printed news, magazines, bills, contracts and ephemera — it seems we find ourselves living in an increasingly paperless world. And by all appearances these newer methods of exchange and productivity seem to be reliable, yet more efficient. At this stage, clearly there’s no turning back now. So instead of standing agape in pure speculation, denial, panic and/or paranoia, one might hold the belief that now is the time to dig in – to do the work — to invest in the intellectual challenge – so as to proactively define the fine art, electronic future in the best, most uniform, pragmatic way one knows how and is capable of.

– Max Eternity 2009