Danny's LCC 2720 Blog: February 2011

Friday, February 25, 2011

Album Scavenger Hunt

ACHROMATIC

CHROMATIC

HIGH-KEY

LOW-KEY

Group members: Evan C., Sean W.

Monday, February 21, 2011

Oliver Grau's “Virtual Art: From Illusion to Immersion” follows the advent of virtual art and its subsequent development as a viable art media in the contemporary environment. The text emphasizes the principles of immersion within a three-dimensional environment to experience virtual art to the fullest, allowing the audience the freedom to see the piece from their own perspective instead of a single limited perspective provided by two-dimensional artworks.

Art21's blog regarding art within a virtual environment expands Grau's writing further by applying the principles of virtual art into Second Life's three-dimensional environment. Second Life's versatile artistic tools and wide availability to the pubic allows every character to create their own virtual art without facing the limitations of expenses and space a person would encounter in real life. The article emphasizes similar key concept of immersion in order to experience virtual art as Grau's. Second Life's surreal environment allows characters a huge degree of flexibility in which they can work and experience virtual art that would otherwise be impossible in reality.

Hyperformalism deals more on the creation of visual art through compact formation of individual pixels displayed on the monitor, placing more emphasis on digital collage rather than immersion in three-dimensional environment. The wide availability of 2D and 3D processing softwares allows just about anyone to create a form of art. The key point of hyperformalism is the ability to “undo” a process, giving the artist freedom to go back and retry the process over and over again with ease, something that is not easily provided in many traditional media.

Watch the Worlds & Crows - Comparison Summary

Robbie Dingo's “Watch the Worlds” and Akira Kurosawa's “Crows” both materialize Van Gogh's paintings to three-dimensional environment by directly exploring Van Gogh's works from within, as if traveling inside the very painting itself. They go inside deep into the ideas behind the paintings and connect two-dimensional aspects of the paint canvas with three-dimensional reality we live in.

Dingo's recreation of Van Gogh's “Starry Night” in Second Life's virtual three-dimensional environment sets an entirely new perspective in Van Gogh's work that would otherwise be completely obscured in two-dimensional space with a scene in which a character can explore freely, going beyond the layers of canvas and bringing a whole new life in painting.

Kurosawa takes a different approach to Van Gogh's works compared to Dingo, going directly inside Van Gogh's works and exploring the ideas behind the paintings. Kurowasa imagines what Van Gogh had in his mind as he painted the pieces and follow the process, transplanting himself upon the two-dimensional plane of Van Gogh's numerous pieces in a dream-like sequence.