Structuring Time - Betancourt, Michael
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A NEW KINETIC ART: This book presents a new approach to the conceptual basis of all visual art, and while it is about making movies -- the catch-all for video, film, computer graphics and anything else that may appear to move -- the thrust of this book is a radical redefinition of all visual media, including traditional standards like painting. The framework these notes propose is a way of thinking about visual art that eliminates all former media in favor of a division based on our ability to see movement or change in a work of art. While most movies change and move rapidly, this…mehr

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Produktbeschreibung
A NEW KINETIC ART: This book presents a new approach to the conceptual basis of all visual art, and while it is about making movies -- the catch-all for video, film, computer graphics and anything else that may appear to move -- the thrust of this book is a radical redefinition of all visual media, including traditional standards like painting. The framework these notes propose is a way of thinking about visual art that eliminates all former media in favor of a division based on our ability to see movement or change in a work of art. While most movies change and move rapidly, this understanding is equally concerned with the very slow, or apparently immobile.
Autorenporträt
Michael Betancourt is a pioneer of "Glitch Art" who has made visually seductive digital art that brings the visionary tradition into the present. Dividing his studio time between working with static and moving imagery, his approach to digital misfunction has set the stage for the contemporary mania for glitch art. Since 1990, he has cultivated a diverse practice unified by a consistent concern for the poetic potential of the overlooked and neglected images made by digital computers-the "glitched" images that are commonly ignored and rejected. By emphasizing their digital origins, his aesthetics encourages the viewer to find poetic meaning in their everyday life. His static imagery primarily displayed on his Instagram account (@glitcharts) links the digital rendering of files to the patterns of wood grain in Japanese woodblock prints of the nineteenth century, reveling in the continuity between contemporary digital abstraction and historical art.