Chromatic Algorithms Synthetic Color Computer Art and Aesthetics After Code

Chromatic Algorithms: Synthetic Color, Reckoner Art, and Aesthetics subsequently Code

University of Chicago Press, 2014
eISBN: 978-0-226-00287-3 | Cloth: 978-0-226-00273-6
Library of Congress Classification ND1489.K36 2014
Dewey Decimal Classification 776

Nigh THIS BOOK | Author BIOGRAPHY | REVIEWS | TOC | Asking ACCESSIBLE FILE

ABOUT THIS Volume

These days, we take for granted that our computer screens—and even our phones—volition testify united states images in vibrant full color. Digital color is a key part of how nosotros use our devices, merely we never give a thought to how information technology is produced or how information technology came most.

Chromatic Algorithms reveals the fascinating history behind digital color, tracing it from the piece of work of a few brilliant computer scientists and experimentally minded artists in the late 1960s and early '70s through to its appearance in commercial software in the early on 1990s. Mixing philosophy of applied science, aesthetics, and media analysis, Carolyn Kane shows how revolutionary the earliest computer-generated colors were—built with the massive postwar number-crunching machines, these first examples of "computer art" were so fantastic that artists and computer scientists regarded them as psychedelic, even revolutionary, harbingers of a amend future for humans and machines. Merely, Kane shows, the explosive growth of personal computing and its accompanying need for off-the-shelf software led to standardization and the gradual closing of the experimental field in which figurer artists had thrived.

Even and then, the gap betwixt the vivid, assuming presence of color onscreen and the increasing brainchild of its underlying code continues to lure artists and designers from a wide range of fields, and Kane draws on their work to pose fascinating questions about the relationships amidst art, code, science, and media in the 20-starting time century.

AUTHOR BIOGRAPHY

Carolyn L. Kane is a postdoctoral fellow at Brownish University and assistant professor of visual communications at Ryerson Academy in Toronto.

REVIEWS

"Chromatic Algorithms promises to set the fields of color study and new media in a completely new management. Non only does Kane offer us an important history of the evolution of digital color technologies and their uptake in video art, she likewise tells a remarkable story of the relation between fine art and commerce in her finely detailed study of Bell Labs, which is importantly identified every bit a site of radical artful experimentation. Kane's study upends the facile oppositional logics of the relation of fine art and industry that plague so many discussions of the avant-garde and aesthetic autonomy. Moreover, the digital color aesthetic that Kane elaborates here—which moves from historical accounts of technological development to broader ontological considerations of media, mediation, and aesthetic feel—makes articulate the complications of both color and lawmaking that whatsoever general theory of aesthetic experience in the 20-first century will take to account for."

— Brian Price, University of Toronto

"Kane's fascinating book is the perfect instance of what xx-kickoff century media history and theory should be—wide-reaching; attentive to the details of media and software technologies; bringing into conversation art, scientific discipline, and code; and combining analysis of particular artifacts and artworks with institutional history. This is one book you must read, both for its methodology and ideas and the histories Kane uncovers. A fantastic achievement from a brilliant immature scholar."

— Lev Manovich, Graduate Center, Metropolis University of New York

"To read Chromatic Algorithms is to dive into a hidden history of wild inventions and dramatic standardizations, of artist-engineers whose names are treasured by too few, and of corporations whose norms are praised by too many. Using media archæology to unpack the mystery and commerce of electronic color that now dominate twenty-first century-perception, Kane communicates lucidly and with passion the joy of discovering lost fine art and lost ideas, and the euphoria of thinking through them with the most brilliant of contemporary thinkers and artists. From Frieder Nake and Shuya Abe to Eduardo Kac and Jeremy Blake, the volume bursts with the struggle for and over color that formed the new digital sensorium. Chromatic Algorithms is a history whose pages could exist written only by a scholar who cares equally and passionately about past and future color."

— Sean Cubitt, Goldsmiths, University of London

"Theory is gray, said Goethe, just in Chromatic Algorithms, a hush-hush history of how computers and fine art came together since the 1960s, Kane begs to differ. This jelly edible bean bowl of colorful and flavorful characters, ideas, and facts promises to cure u.s.a. all of colorblindness."

— John Durham Peters, Academy of Iowa

"A gorgeous and fascinating study of color, technology, visualization, the digital, and beyond."

— Carla Nappi, New Books in Scientific discipline, Technology, and Order

"Thrusts colour aesthetics into the realm of calculator engineering science, uncovering surprising connections among color theory, chemic mixes, and contemporary digital light applications. . . . [Kane] explores complicated relationships among standardized dyes, Twenty-four hours-Glo shades, and the synthesis of color tv set, mirroring the sixties counterculture of psychedelic images, a recharged surrealism, and the emerging youth civilisation. Kane juxtaposes cool, controlled, estimator design with the 'dirt style' of the commonage Newspaper Blood-red, whose works in video, web pattern, and installations bring into collision bright hues, composite colour blends, rainbows, psychedelic peace signs, a healthy sense of satire, and an investigation of media design protocols. Withal, underlying modern color experiments are submerged political concerns regarding conformity, corporatism, and a growing uniformity of spider web 2.0. Kane describes present color as the 'photoshop cinema'—an era of processed, determined, mediated fine art, such every bit Jeremy Blake's time-based paintings and the highly saturated motion picture experiences of Pleasantville (1998) and Speed Racer (2008).  They appear extravagant and bright but suggest a dark culture of color used to obscure and provide opacity to smooth, inscrutable surfaces. . . . Recommended."

— Selection

"In documenting how we came to standardize and codify color, Kane opens upwards new means of seeing our algorithmic culture as a whole. . . . There is a great wealth of material in this book that scholars of the digital, well across art historians, will detect valuable."

— Jill Walker Rettberg, Academy of Bergen, Kingdom of norway, New Media and Order

"Interrogating the histories of our ever more colorful interfaces, Kane makes an important contribution past recognizing that the organization of the sensible is both pleasurable and ethical. How we are trained to run into in the present also weather condition how nosotros will design technology and, peradventure, our relationships with each other in the futurity."

— Design and Civilisation

TABLE OF CONTENTS

Introduction. How Color Became Code

Part one. Chromatic Visions (400 B.C.-1969)

            Colors Sacred and Synthetic

                        Classical and Mod Color: Plato through Goethe

                        Industrial Color: Synthetics through Day-Glo Psychedelics

            Constructed Colour in Video Synthesis

Office ii. Disciplining Color: Encounters with Number and Code (1965-1984)

            Informatic Color and Aesthetic Transformation in Early Estimator Art

            Collaborative Calculator Art and Experimental Color Systems

            From Chromakey to the Blastoff Channel

Office 3. "Transparent" Screens for Opaque Ontology (1984-2007)

            Digital Infared as Algorithmic Lifeworld

            The Photoshop Movie theatre

            Postscript. A New Dark Historic period

Acknowledgements

Notes

Bibliography

Index

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