this is a 48 second loop
This is a sixty second loop.
These loops are intended to be played in a gallery or on a TV set, running for as long as necessary. I'll explain briefly how they were constructed.
I say adding the fourth dimension because, in physical art, the third dimension is already added either by perspective or by sculpture. The fourth dimension is then time, in this way of thinking, rather than a fourth physical dimension. Each of the loops above is based on one or more still images that have been composed together in different ways, typically by being made semi-transparent and being overlaid on each other.
The first two sequences are based on geometric images of the type I showed in http://systemsartblog.blogspot.co.uk/2014/12/more-geometric-images.html, where the geometry is apparent in the used of straight lines and regular curves. The third sequence is based on a painting that is kind-of-geometric, but not pedantically so. However, its animation is geometric, so for my mind, that turns it absolutely into a geometric exhibit.
The geometry of the animation in each of these sequences is the fundamental artistic contribution, so it is that that I will describe here. The animation is done using some basic video software that I have written about elsewhere [http://systemsartblog.blogspot.co.uk/2014/03/my-use-of-computers-in-art.html].
Sequence 1 is a four minute loop. It comprise three copies of the same image rotating at different speeds and in different directions. One copy goes round 3 times in four minutes, one goes around 4 times and the remaining copy goes around 5 times. They are composed in a traditional stencil composition, where there is a bottom image, a stencil and a top image. The top image is printed through the stencil onto the bottom image for each frame. All images move between frames. This method can turn quite simple geometry into very complex patterns as shown here.
Sequence 2 is again made from three copies of a single image overlaid with some transparency. Each copy zooms in and out at different speeds, all synchronised so as to return to the beginning after 48 seconds.
The third sequence loops after one minute. It has been built in two stages. The first stage simply composes two versions of the still image of a painting, contra-rotating, using a filter that combines them selecting on the basis of colour. The second stage is to compose four copies of that video, nested into each other. I then slowly zoom into the nest, so that after one minute the second image expands to exactly fill the frame. At that instant, a new fourth image pops up in the centre and that brings us back exactly to the first frame.
I'm on the lookout now for geometric art that I can turn into short video loops of this sort, perhaps in collaboration with the artist. If you have anything of this sort that you'd like to try, get in touch.
I say adding the fourth dimension because, in physical art, the third dimension is already added either by perspective or by sculpture. The fourth dimension is then time, in this way of thinking, rather than a fourth physical dimension. Each of the loops above is based on one or more still images that have been composed together in different ways, typically by being made semi-transparent and being overlaid on each other.
The first two sequences are based on geometric images of the type I showed in http://systemsartblog.blogspot.co.uk/2014/12/more-geometric-images.html, where the geometry is apparent in the used of straight lines and regular curves. The third sequence is based on a painting that is kind-of-geometric, but not pedantically so. However, its animation is geometric, so for my mind, that turns it absolutely into a geometric exhibit.
The geometry of the animation in each of these sequences is the fundamental artistic contribution, so it is that that I will describe here. The animation is done using some basic video software that I have written about elsewhere [http://systemsartblog.blogspot.co.uk/2014/03/my-use-of-computers-in-art.html].
Sequence 1 is a four minute loop. It comprise three copies of the same image rotating at different speeds and in different directions. One copy goes round 3 times in four minutes, one goes around 4 times and the remaining copy goes around 5 times. They are composed in a traditional stencil composition, where there is a bottom image, a stencil and a top image. The top image is printed through the stencil onto the bottom image for each frame. All images move between frames. This method can turn quite simple geometry into very complex patterns as shown here.
Sequence 2 is again made from three copies of a single image overlaid with some transparency. Each copy zooms in and out at different speeds, all synchronised so as to return to the beginning after 48 seconds.
The third sequence loops after one minute. It has been built in two stages. The first stage simply composes two versions of the still image of a painting, contra-rotating, using a filter that combines them selecting on the basis of colour. The second stage is to compose four copies of that video, nested into each other. I then slowly zoom into the nest, so that after one minute the second image expands to exactly fill the frame. At that instant, a new fourth image pops up in the centre and that brings us back exactly to the first frame.
I'm on the lookout now for geometric art that I can turn into short video loops of this sort, perhaps in collaboration with the artist. If you have anything of this sort that you'd like to try, get in touch.