untitled (6/30/15) #14
[ 7″ x 5″ ]
The Generative Darkroom
Category Archives: Imaging & Photography
Mirror Minus
(via Kimberly Murphy—instragram:_kimmis_) “enjoying a little mother/daughter time at the @a2artcenter.”
“Mirror Minus” is an interactive installation that continues within my experimental process of Reductive Video. The body of work entitled “Reductive Video” borrows the choice to depict changes in movement (either as individual frames or wholly contained in a single image) and applies it to the technical rendering of images. Using custom software written in Max/MSP/Jitter, video is broken down to reveal only the pixels that change from frame to frame, no longer implying form, but instead the shape of what has changed from the previous frame.
Lumen Prints
Twenty-four Hours of Autumn Shade
10/15/2013-10/16/2013
Forte PolyWarmtone Art
Ivory_Base
24hr exposure (910pm-910pm)
Internet Meme Flip Books
View other Internet Meme Flip Books
(on Vimeo)
For Love
For Love represents the reduction of a video into a single print. Similar to other Reductive Video works, the changes in motion and movement are layered to create impressions of these on-screen activities.
The source material for this exploration was appropriated from online amateur pornographic video-sharing websites.
After Muybridge, After Marey
These experiments in “Reductive Video” are an homage to the work of Eadweard Muybridge, Étienne-Jules Marey, and Thomas Eakins, bringing their ideas into the 21st century by highlighting the changes in motion and movement as experienced and recorded by technology. Video is captured and processed, comparing one frame of video against the next. Only those pixels that differ from the previous frame are then displayed.
Pixel-Lapse Photo Booth
“Pixel lapse” photography is the process of creating an image one pixel at a time. Beginning in the upper left corner, pixels are captured sequentially at a set rate until the entire image is formed.
Now Playing
TRON (1982)
Steven Lisberger
571 x 243
“Now Playing” records the feeling of a movie – the overall color cast of each individual frame – and sequences it left to right / top to bottom in the same manner as our music and writing. Borrowing from the formatting of a computer screen, each frame of a video or film is reduced to the size of one pixel and placed next to the moment in time that preceded it.
Pixel-Lapse Prints
sunrise
3 December 2006
1024 x 768 @ 100 px./sec
2 hr, 11 min, 15 sec
“Pixel lapse” photography is the process of creating an image one pixel at a time. Beginning in the upper left corner, pixels are captured sequentially at a set rate until the entire image is formed.
96, 33-95
Project Statement
We live in a technocentric society. Willingly we trade away stability, permanence, and the desire to investigate in favor of increased speed, miniaturization, and the easy, instant access to information. The transient nature of information has been mapped upon the tangible aspects of our lives.
At what point did the world decide that impermanence was better than permanence, that the degradation of our products, disintegration of our literature, dissipation of our history, or the deciduous nature of our art would become desirable, acceptable, reasonable?
Unacceptable!
As things begin to decay, they may create a visual appeal and a scientific interest; but the beauty of natural decay is organic. Its degradation is a creative process developing a new form while retaining aspects of its prior self. Digital decay is destructive. Data is lost, yet its loss is accepted. Should it be abhorred? Should it be tolerated? Is there a place where it should be desired?
Steven H Silberg 