<< 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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2008-07-04

>> Norman McLaren

"It is more important what happens in between each frame than what happens on each frame"

"not the art of drawings that move, but rather the art of movements that are drawn"

1947:
Norman McLaren painted lengthwise on film instead of frame by frame. His first film using this method was Fiddle-de-Dee.which won an Academy award.

1971: Norman McLaren releases the film Synchromy in which the same images that produced the sound on the sound track had been painted on the visual film.

--> note in Century's ppt
--> inspiration to Ron Baecker's handdrawn animation program GENESYS
--> inspiration for Alan Kay, who wanted to create 3d animation
--> inspiration for NRC developments in computer animation

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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.