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"ally3" - GIF artist unknown - enlarged - 188KB
Anxiety of Influence
1999
Kristin Lucas, mousepad drawings.
Lucas inked a mouseball and let it make gestural drawings while she played games, answered email, etc.
2006
Eyebeam Open Lab - mousepad paintings
Similar gesture paintings made with a USB "double mouse"
(hat tip to jim bassett--demoted from "attack of the clones" to "anxiety of influence" since the Lucas was part meat-space, part virtual and the double mouse is all virtual. it is basically the same idea, though)
Update: another mouse doing "automatic writing," by Joseph DeLappe, from '99 (thx to ed halter)
Update 2: Some critical musings on all this are here.
More digital pog blogging:
An earlier post on the subject of digital pogs addressed only the collectible aspect of these "caps." Yet in the physical world their main purpose, and means of exchange, is a game where the pogs are stacked and knocked over, with the pogs landing face up going to the winner. Some serious thought needs to be given to how digital pogs can acquire the edge of competition, gambling, and classroom disruption that led to their banishment in schools across America in '94-'95.
To put it more bluntly, how do you kick people's asses and get all their pogs with the digital version?
Brown Wolf, 1989, oil on canvas, 54" x 64". After a big corporation purchased a canvas of mine for a high-tech training center it built in Dallas, the director of the center asked if I would accept a commission for a painting of a "brown wolf." (It was an inside reference that I won't explain here.) He stipulated only that it be "a magnificent animal, and I don't want it with its tail between its legs or howling at the moon." The money was good, and while I had done many photorealistic portraits I had never done a "nature painting" per se, so I took it as a personal challenge. As a source I used a black and white image from a Dover book of copyright-free photos, gridded and enlarged it in pencil (old school) and then added the colors (such as they were) from my imagination. The Dover image was of a rather unmagnificent animal obviously in a zoo pen so I had my work cut out for me to make him appear strong and free. Last I saw it was hanging proudly in the lobby of the office building. I have no idea where it is now but due to corporate turnover (and changing tastes) it could very well be in a storeroom or landfill. The piece led to a series of ambiguous, grisaille paintings of copyright-free North American mammals (some of which I've posted and will continue to post here). The photo of the painting is by Harrison Evans.
Looking back at the invoice for this painting reminded me that the director also bought some drawings of mine--one of which was done on the Macintosh with MacPaint. Just to bring this post back to my usual subject matter.