Proposal: I would like to investigate and deconstruct how intangible concepts in math and science interact with technology and the resulting graphic representations that result from it. Specifically I am thinking about the way in which the two-dimensional surface of the computer can trick the human eye into reading three-dimensional depth. These concepts are seen in visual eye illusions which rely on the interactions of color, shape, and distance. For example, stereograms, autosterograms, Op art, and lenticular prints. These images are explained by scientific processes and the artistic principles and elements that can be grasped through research, easily attainable materials, and replication. This project would have me harnassing these techniques and creating typographic design projects with them. In the completed projects and accompanying research I would hope to give the audience an understanding of how these familiar tricks work. The materials made from my research will rely on the specific deconstruction of these processes to give proper explanations to the audience, while also showing my design point of view in the completed projects.
Bibliography: Josef Albers, The Interaction of Color, 1975 BP Johnson, Single Viewpoint Stereography, 2004 Christopher Butler, Postmodernsim A Very Short Intro, 2002 Gerald Raunig, A Thousand Machines, 2010 Beauty Unrealized: Spider Webs of Personal Universes Seeking Form, 2006
Lenticular and stereoscopic images are both created using simple knowledge of how the eye and brain can be fooled into seeing depth from flat, computer generated images.
(Untitled) Lenticular Installation, Gareth Long
Stereoscopic image, Wikipedia
Stereogram, Fred Hsu
Op Art work utilizes systematic applications of line, shape and color to create the illusions of depth on a twodimensional surface.
Julian Stanczak Shared Center, 1983 Offering Blue, 1970 Lineal Formation Blue, 1989 Paralax with Green, 1985
Josef Albers, Homage to the Square, 1962
More recent projects by artists contain similar visual clues used by the seminal Op artists. However, motion and design within the framework of the computer has been added. The possibility for motion comes with the exploration of the GIF file format, other systems within the programs of the computer, and distortion of technologies.
Emilio Gomariz Spectrum Cube, 2012 Twist Choreography, 2012
Kim Asendorf, Random Rooms, 2009 Claudia Mate, GIF, 2011
Sarah Ludy, Stills from Rooms, 2012
With these precedents in mind, I began executing explorations of how to breakdown 2-dimensional depth into its simplest form.
I then began implementing motion, through the GIF file format, and various other explorations into the way technology can render dimension.
The results were experiments with shape, color, and gradient.
The projects can be seen online: http://a.parsons.edu/~madua830/thesis/GIFs/bitmap/b1.html