Art In Time

Xmas Time
Abstraction in the 21st century

Capturing motion is an entire "sub 'discipline'" of my "work" (Which is not work and it has no discipline to be super or sub of)

But my camera (phone) has a feature (or two or three) that are able to allow me to transfer motion onto the image.



This one took first place in a Patriotic Image contest!

It is achieved by using the motion panorama feature and scanning across the flag that is flipping in the wind.

Other effects include this compacting of moving vehicles (contrasted against the still vehicles)



Meanwhile, My light series are all about the motion (which is feature #2, a shutter setting up to 10 seconds. After 4 however it tends to get overly crowded)



In which the shaky hand of a newly old man races against the shutter to capture the motion of a still object (as the lens moves across and around it.)

The camera also has a feature which allows external 360 images (ones the effectively walk around an object. As opposed to the camera being the universal center of the image as is with my 360 camera) However that format cannot (as far as I have been able to tell) be exported. Certainly they don't yet show here. However, I do think that it will be a format, even if just a niche format.

There is a fourth as well, It is that feature that allows the focal point to be moved in and out and Pan (everything is in focus.) But, again, it is not yet exportable (as far as I know).

Each of these would be enhanced with a different viewing protocol (goggles, interactive video screen, something... holograms would be nice.)

I have a very nice cockroach in my office. It would be fun to take the "Virtual" mode picture (it's more of a video) and post it. I could see how looking at your work in that mode would help people to understand what the Heck is going on (but like all answers, it would result in more questions! )

Hey, Lichtenstein took pointillism and made something different out of it. No reason you can't do the same.

I have faith in your creative ambitions.

PLAU
UPD

Oops, sorry, I meant to copy the page, not the images...

If i understand this right, than this is about motion

This is an image where i created "motion"

The effect was achieved by changing the focal length during the shot.
To me it could very well be an explsion / blast or a travel at warp or light speed - whatever you are able to see - i leave it to your imagination.

This is another example of creating "motion" in a still image

This time it was digitally done in post processing though. Here i tried to show / simulate the view an insict might have flying through the grass and flowers.

 

I've many thoughts on your topic, Roger.

Thanks very much for your kind appreciation. Made my day(s) :)

I get where you're coming from with 3D to 2D mode -- and I believe you're satisfying your desire to get that 'motion' thang happening.

In your pixel pointillism, there's myriad layering & composition of elements.

In my 2D compositions, I've found more & more, lately, to be in that same mode -- layering,layering, layering, in order to capture that kinetic vibe from my animations.

Some time ago I encountered derision in a thread on the concept of layering. Especially labelling layers in my digital static comps -- maps are handy navigational tools. Especially in art.

So, meh. Layering's what life's all about.  

In my latest animation, completed last night, I've manifested what's been brewing in my mind's eye since I created, in 2010, the static artwork, Decision in this video on my Vimeo channel.

Tryst

carmenhathaway.com

Very few of my photographs have a sense of movement to them - they are all pretty static - but then I have my digital abstracts and many of the have some sense of three D and or movement to them - perhaps this one would fit that bill:

https://fineartamerica.com/featured/passing-orion-constellation-stars-rd-erickson.html

I have always like Calder's work - sculpture in motion as well as many static sculptures that one must go around to see the complete work.

Sure Roger,
time is but a single dimension. I spent quite a bit of my life exploring the 3 and 4 dimensional median from computer generated animation to metal sculpture casting. I've even spent quite a bit of time working in the abstraction of dimensions beyond 4 when studying vector spatial analysis. This helped in broading my understanding of the digital artistic tools I use.
Animation is one way to incorporate the dimension of time in art work, dynamic scuplture and mechanical design are other ways.

 

Roger, your architectural skills blew me away, long ago. Just one of many facets of your creative, curious mind. Just sayin' ;)

Thanks Carmen,

Perhaps, my time in architecture, reinforced my interest in "Art in Time".

Since Architecture doesn't exist until one walks up to it, and then into it

 

& through it, & well beyond it, etc., ad infinitum  

;)

Love those 'vanishing points'.... in time, & in projected perspective/grids.


And, you're very welcome.

I came upon your "Pixel Pointillism" earlier in the week; also noticing your interest in mugs from another thread. So it does not surprise that your occupation in sculpture might be conjuring such an extension - but of course I took it no further. It also is not a surprise that you would improvise, adapt and overcome the perplexing issue of rendering a satisfying 2D from an otherwise 3D. And I believe you are on target with the mug.

It can be held in hand and taken-in similar to a fully dimensional sculpture. And by rendering the object-form of the subjects in pointillism (especially in the manner that you chose; where it resembles the finest mosaic changes of nuance)(a true labor of love) you gain the potential of blending abstraction and representation - giving you several pathways of depiction. All your aesthetic knowledge is coming together in this new adopted formula.

To the questions of time - I have, on my own pages here, examples that fit A B and C; unfortunately my sculptural work is no where displayed.

In this most recent period (several years) the issue of 'Static-Movement' within a 2D image, is most importantly being explored. Especially that the suggest of movement extends to sensible/recognizable Change - wherein something more becomes the subject within the static image than was first observed.

Time is - in a way - the common denominator of all that becomes sensate dimensionality within a duration...perhaps.

Wonderful thread Roger; if I have missed the mark please suggest it to me - I will try again. ---tdp

Terrance,

You've expressed my thinking better than I could ever do.


Now, I'm adding another wrinkle to this "Art in Time"

Plein Air Art.

Where the artist is working and moving in time, outside

And

Where the subject is continually evolving in time

And

By the fact of the artist continually moving, the view of this subject is continually changing....seeing around 3 dimensional objects.

ALL IN FLUX

And I believe, consciously or not, a completed Plein Air piece confirms this fact.


Edit:

Changed "constantly" to "continually"

My metaphor for time.
Art is a language that goes beyond words sometimes; it explains itself just by being there.

Kathy

"BEING THERE"

A term that has been so important throughout my life.


And to me, your fine photograph is a Monumental Image

Hi
I have been in love with Aboriginal art for a long time. Stories told of the land by artists, in wild and wonderful colors. The movement is usually quite exciting throughout the paintings. Seeing artists working and seeing original art works, most wonderfully at the Aboriginal Museum in Darwin, has been a profound experience for me.

George Seurat and Paul Signac are, of course, the original painters in the Pointillism manner, breaking away from the Impressionists and starting truly modern art. Seurat placed each dot with mathematical precision so the viewer’s eye would merge the image, of contrasting colors, into one image. (He died of diphtheria at the tragic age of 32, but had a close relationship with Signac, who continued in the manner of Seurat giving the world further glorious paintings.)

Modern dot artists, such as the Japanese artist, Yayoi Kusama (the highest-priced art by a woman artist, about $7 million in a recent sale) created movement through the ever-changing size of the dots. Other wonderful artists have taken up the styles.

And then, Roger, there is you and me, with both an historical and personal interest in Pointillism and dot art. I have just begun working in both styles, with various markers. I have done both Dreamtime and vertical images. I am dotting up lots of things, including Collages! I know, I must be getting “dotty” in my old age, almost-80, but having the time of my life! I made 25 Christmas cards, seven of which were Dot Art Trees! I feel a renewed interest in the visual world and feel like I am ten years old again.

Thank you ever so much for bringing up the topic, and yes, we need to keep moving in every way!

Though I am in the 'Plein Air' capital of America, at the entrance to the Kaaterskill Clove, I must confess that it has been decades since I sat on a ledge and attended that wonderful task - in those times I mostly worked in pastel but did use oil as well. But if you allow extension, I will explain a similar task that I performed with a camera, recently to the years of 2008-09.

Beginning the third week of November '08 an idea started to unfold to me. The multitude of leaves, of every fall color and nuance, had shed; and from my property, through the barrage of barren branches the escarpment and the sliver we call 'the clove' were once again visible. As such, the horizontal strings of ledge could be seen. To be brief, the skeleton of the natural wonder we know as forest was now visible and stretched wide-open for all to see. But who was left to see it? Not but a few; for the 'attraction' (the autumn color) was gone.

The touristing weekenders, were resting for the approaching holiday; most plien air artist would find their paints stiff and their fingers numb from the temperature. Add that trekking, in and of itself, was a slippery task. But I saw it all as an opportunity; and the infection of the idea warmed me: I would race about and collect as many an example as I might imagine would be necessary to present to artists that were not so fortunate to be at the place, at the 'time', when nature bares all to the eyes of one who desires her every curve and contour and hidden treasure...

Well I shot hundreds of snap-shots that week and as many the week after; and every time that I felt 'today we'll have enough', some other most important implication was realized. And so it continued till a complete year, dawn to dusk, rain, sleet or snow; cloud, sun; an array of motifs (200 and more) from every angle, every distance, and conceivable effecting of natural circumstance. The images had one show; and at that merely 23 framed works in Palenville, at it library, in 2010. But what to do with so many other captured instances of the recurring phenomena that truly happens just once (like a person or a painting or a poem, song, sculpture, et al)?

The examining, watching and taking-in of a singular motif as a duration of time casts it in change - might you believe Roger that I share your joy, to play in materia, in the round from my words?

What of the rest of the snap-shots? Well as it turned out many turned-out more than snap-shots; a touch are here - but many more are now in book form; twelve volumes comprise: Temporal and Timeless Motifs, all-in-all over 1000 images plus four more books and still have not gotten back to the original premise of the intended shot LOL! Hope you enjoyed my nocturnal rambling.

Thank you Roger, truly appreciate your kindness :)

I planned the photo above for a few years, calculated time of day and season when the light glanced across the tree in the morning light... I've been known to get fanatical about this stuff.

I don't mean to make this an image thread... but



So here we have (co-incidently?) at least as far as I understand the OP an example of time and 3 dimensionality in that the subject turns and the angles of the shadows are different all within the single presentation.

Am I misinterpreting the OP?

(Great image anyway)

PLAU
UPD

Hey Uther,

This experimental image by a truly fine artist, is a fine example of Viva's exploring and challenging mind.

AND ISN'T THAT WHAT ART IS ALL ABOUT??

And certainly fits in this rather nebulous thread about TIME, PLACE and ART.


And by the way, since we all here think and convey those thoughts visually, and until Abbie puts kibosh on, I welcome images.

Roger, Uther......omg........I just found your posts,thoughts....I had read the whole thread, and didn't think myself qualified to remark on
the premise promulgated.........until now ! .....Oh, thank you both so much......I have mostly just 'intuition'.....not the words to say why I
do things, except on matters of love,hehehe, and so......am much the wiser about 'me' thru you,both, and thank you thank you thank you.

@Kirsten.......I love your joy, share it whole-heartedly, me,too, 80++, and totally enraptured by the 'now' of my life, of my 'being', and......
especially, grateful to those (above) who've given me such heart to keep on keeping on.........