A few more images have been added to my slide show of low end graphics collage pieces. I've spent the last few weeks writing and revising my article on digital art, and am about ready to send it off. Sample quote: "[D]oubts continue to haunt digital work. New York Times critic Michael Kimmelman questioned its long-term viability in his 'BitStreams' review, fretting that 'today's hardware and operating systems, the digital equipment artists use, will be replaced shortly by a new generation of equipment.' That may be true, although you hear less and less about the doubling of computer power predicted by Moore's Law these days. What Kimmelman doesn't say is that imaging software hasn't changed fundamentally since the early '80s, when Apple added MacPaint to the desktop interface developed by Xerox PARC (Palo Alto Research Center). Nowadays, programs are pixel-based (Adobe Photoshop) or vector-based (Adobe Illustrator), they involve either layering (Photoshop again) or mapping textures onto polygonal armatures (a la Pixar and Industrial Light & Magic), but you still have the same combination of drawing board, tool menus, and spectrum bar that you did twenty years ago. Programmers and engineers have refined these basics, added more depth and memory, improved printing and screen technology, but haven't radically rethought how images are made. Until that happens, resolution remains largely a matter of taste, which the best artists know how to use proactively."
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A few more images have been added to my slide show of low end graphics collage pieces. I've spent the last few weeks writing and revising my article on digital art, and am about ready to send it off. Sample quote: "[D]oubts continue to haunt digital work. New York Times critic Michael Kimmelman questioned its long-term viability in his 'BitStreams' review, fretting that 'today's hardware and operating systems, the digital equipment artists use, will be replaced shortly by a new generation of equipment.' That may be true, although you hear less and less about the doubling of computer power predicted by Moore's Law these days. What Kimmelman doesn't say is that imaging software hasn't changed fundamentally since the early '80s, when Apple added MacPaint to the desktop interface developed by Xerox PARC (Palo Alto Research Center). Nowadays, programs are pixel-based (Adobe Photoshop) or vector-based (Adobe Illustrator), they involve either layering (Photoshop again) or mapping textures onto polygonal armatures (a la Pixar and Industrial Light & Magic), but you still have the same combination of drawing board, tool menus, and spectrum bar that you did twenty years ago. Programmers and engineers have refined these basics, added more depth and memory, improved printing and screen technology, but haven't radically rethought how images are made. Until that happens, resolution remains largely a matter of taste, which the best artists know how to use proactively."
- tom moody 8-22-2001 8:26 am