Obladì Obladà e Immagina: sperimentazioni tra video e computer art in tv

2020 ◽  
Vol 8 (1) ◽  
Author(s):  
Paola Lagonigro
Keyword(s):  
Computer Graphics ◽  
Personal Computers ◽  
Computer Art ◽  
Production Techniques ◽  
Post Production

During the Eighties, with the spread of personal computers, the image of the Italian television was revolutionised by computer graphics. Broadcasts like Obladì Obladà (1985) and Immagina (1987-88), both directed by Ranuccio Sodi, made extensive use of computer graphics and combined analogue and digital post-production techniques. These programs were dedicated to contemporary audio-visual production: from videoclips to video installations, from advertising to computer art and, more generally, to artistic forms related to electronics. For Obladì Obladà, Massimo Iosa Ghini designed the graphic line and created a futuristic studio that revealed the style of bolidismo. While in Immagina, Fabrizio Plessi’s scenographies dictated the aesthetics of the transmission, dialoguing with Mario Convertino’s graphics. The article aims to analyse the two programs as products of an aesthetical and technological experimentation in which the collaboration between the director and the artists involved represents an attempt to create a “television art”.

Computer Memoirs of Ray Lauzzana

Leonardo ◽  
2019 ◽  
Vol 52 (2) ◽  
pp. 191-193
Author(s):  
Ray Lauzzana
Keyword(s):  
Computer Graphics ◽  
Critical Path ◽  
Personal Computers ◽  
The Internet ◽  
Art And Mathematics ◽  
Buckminster Fuller ◽  
Congressional Hearing ◽  
Path System ◽  
And Mathematics ◽  
The 1960S

This article traces the author’s work with computers from his earliest experiences in the 1960s through the mid-1980s when personal computers and the Internet changed everything. The author’s earliest work with computing involved developing a “critical path” system along the lines outlined by Buckminster Fuller. He continued mixing art and mathematics throughout his career, engaging psychophysics and synesthesia. By the 1980s, the author turned to publishing about computer graphics; in the mid-1980s, he homebrewed a “listserver” to distribute one of the first electronic publications—fineArt forum (fAf). In 1981, he was invited by Al Gore to develop an exhibition of computer artists at the Library of Congress for the Congressional Hearing on the Internet—the legislation passed, and computing has never been the same.

Sustainable Ethnomusicology

2021 ◽  
pp. 138-153
Author(s):  
León F. García Corona
Keyword(s):  
New Media ◽  
Technical Skills ◽  
Image Editing ◽  
Years Of Experience ◽  
Web Development ◽  
Production Techniques ◽  
Database Administration ◽  
Post Production ◽  
Network Administration ◽  
Do So

Most ethnomusicological training requires fieldwork and lab techniques in which students gain technical skills related to the acquisition of data related to fieldwork. Although the work we do as ethnomusicologists sits at the forefront of gathering engaging, relevant content related to musical expressions, most ethnomusicologists are ill equipped in delivering their findings to a broader audience through the use of new media and post-production techniques such as video, sound, and image editing, web development, database administration, and network administration, among many others. Although plenty of literature about developing these skills exists as stand-alone instruction, in this essay I present a bird’s-eye view of content production from an ethnomusicological perspective, providing an understanding of not only content production but how intersects with revenue and ethnomusicological goals. I do so by sharing more than twenty years of experience as an IT specialist and consultant and by exploring some examples of content production at Smithsonian Folkways.

Three Dimensional Animation Design and Production Based on Computer Graphics

2014 ◽  
Vol 926-930 ◽  
pp. 1767-1770
Author(s):  
Ya Dong Guo
Keyword(s):  
Computer Graphics ◽  
Three Dimensional ◽  
Great Influence ◽  
Computer Software ◽  
3D Animation ◽  
Scene Design ◽  
Main Work ◽  
Post Production ◽  
Role Design ◽  
Design And Production

This paper presents the design and production of 3D animation based on computer graphics. The main work includes the animated scene design, role design and the post production using computer software. Design software tools are Autodesk Maya and Adobe EffectsCS4. Scene design and role design are very important parts of the animation form. The good scene and role design can improve the animation level and effect; make the animation and rendering a fuller picture. In addition, rich post production can promote the additional value of animation works, has a great influence on the final result of the whole works of taste and art.

Computer Graphics: Computer Art

Leonardo ◽  
1986 ◽  
Vol 19 (4) ◽  
pp. 348
Author(s):  
Stephen Wilson ◽  
Herbert W. Franke
Keyword(s):  
Computer Graphics ◽  
Computer Art

Ibridazione, corpi e media. Pratiche artistiche del video in Italia negli anni Ottanta

2019 ◽  
Vol 6 (1) ◽  
Author(s):  
Francesco Spampinato
Keyword(s):  
Visual Culture ◽  
Contemporary Art ◽  
Music Videos ◽  
Personal Computers ◽  
Computer Art ◽  
Artistic Production ◽  
Production Distribution ◽  
Previous Decade ◽  
New Generation ◽  
Media Practices

Historians and theorists of Italian art have usually dealt with the Eighties with sufficiency, reading it through the lens of disengagement and focusing on painting movements based on the return to manual expression and expressionist figuration, interpreted as a reaction to the conceptual practices that dominated the previous decade. Actually, painting represents only a small part of Italian artistic production in the postmodern era, a production whose peculiarity—and this is undoubtedly one of the reasons for the short-sighted historical reading of the period—consists in its being transdisciplinary. Indeed, in those years, a new generation of artists and cultural producers experimented with performative and media practices, moving with ease from the field of contemporary art to those of theater, television, music, design and visual communication. The use of audiovisual technologies, both video and personal computers, which saw mass diffusion in the 1980s, represents the trait d’union between these practices. Adopting an approach between the historical and the phenomenological, the article offers an "overview" of the artistic practices of video in Italy in the 1980s, articulating its discussion around three interpretative lines connected to the ideas of: hybridization, body and media. The article opens with some art-historical considerations. It then continues with an outline of the international artistic situation and references to post-modernist theories and the visual culture of the decade. Some typologies of experimental video practices in Italy are then outlined: video sculptures and installations; the relationships between video and theater; between video and design; between video and television; music videos; and computer art. The final part is dedicated to the capillary Italian network of production, distribution and fruition of video, which includes distributors, exhibition spaces, festivals and magazines. The article closes with some reflections on the evolution of the classification and historicization criteria in light of the most recent studies of visual culture.

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