<< preface

this blog is nina wenhart's collection of resources on the various histories of new media art. it consists mainly of non or very little edited material i found flaneuring on the net, sometimes with my own annotations and comments, sometimes it's also textparts i retyped from books that are out of print.

it is also meant to be an additional resource of information and recommended reading for my students of the prehystories of new media class that i teach at the school of the art institute of chicago in fall 2008.

the focus is on the time period from the beginning of the 20th century up to today.

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>> Bela Julesz

Jasia Reichardt in "The Computer in Art", 1971:

"Activities in the field of computer graphics at Bell Telephone Laboratories also include Bela Julesz's experiments with texture and visual perception, in which he used the techniques employed in the random generation of patterns. Ranom-dot patterns generated by computers have shown that the recognition of familiar shapes is not needed for the discrimination of textures, or even for the binocular perception of depth. Julesz used random fields of coloured dots. He discovered that texture discrimination is highly dependent on the way component colours are paired, which, for instance, red and yellow giving a higher degree of discrimination than blue and yellow or blue and green. The objective was to determine those pattern properties that make it impossible to distinguish immediately two adjacent displays. He found that it is the statistical properties of patterns that allow for spontaneous discrimination. This is independent of vrightness distribution but relies on the isolation of darker clusters hich could be said to form certain patterns. Using stereo pairs, Julesz found that one can perceive camouflaged objects with binocular vision which are invisible in a two-dimensional representation."

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... is a Media Art historian and independent researcher. She is currently writing on "speculative archiving && experimental preservation of Media Art" and graduated from Prof. Oliver Grau's Media Art Histories program at the Danube University in Krems, Austria with a Master Thesis on Descriptive Metadata for Media Arts. For many years, she has been working in the field of archiving/documenting Media Art, recently at the Ludwig Boltzmann Institute for Media.Art.Research and before as the head of the Ars Electronica Futurelab's videostudio, where she created their archives and primarily worked with the archival material. She was teaching the Prehystories of New Media Class at the School of the Art Institute of Chicago (SAIC) and in the Media Art Histories program at the Danube University Krems.