COLLAGE—
1. An artistic process that consists of pasting various elements (paper, small objects) onto a paper or can- vas surface. Collage implies two operations: extracting ele- ments and then integrating them into a new whole. Through borrowing, the artist creates new meaning. Such borrowings may involve elements taken from reproductions of famous paintings or even entire paintings. Collage was first intro- duced as a visual art in 1913, by Braque, Picasso and the cubist movement, and is still practiced today. When large objects are integrated into an installation, the process is called bricolage, a concept defined by Claude Lévi-Strauss in 1958.
2. In computer graphics, a technique that consists of pasting pieces from different pictures or texts onto an image. This technique originated with and was successfully used by the Visible Language Workshop, founded in 1976 at the Massachusetts Institute of Technology, under the direction of Muriel Cooper.
3. In music, technique in which extracts from different recordings are brought together.
4. In video, a montage technique that involves editing filmed images and images from existing videotapes and re-working them using special effects: superimposition, juxtaposition, wipe, window, illustration, etc. Electronic collage follows in the tradition of visual arts techniques. The range of possibilities made avail- able by technology (through synthesizers, computer graph- ics, personal computers) leads to the production of highly complex collages. The distortion of images from different sources (film, television) by a synthesizer, and their quick passage across the screen, is a form of electronic collage. More advanced examples of the process include recorded and live images that are mixed together, then synthesized. The live and recorded images are then combined and re- combined. In 1970, Korean-born American artist Nam June Paik, in cooperation with Japanese engineer Shuya Abe, developed a video synthesizer, called the Paik-Abe Video Synthesizer, that could be used to distort images and move them quickly across the screen. Paik and his technicians demonstrated the device for radio station WGBH in Boston, playing it to a Beatles tune. Global Groove (1973), which Paik produced with the support of television station WNET in New York, was one of the first examples of this type of collage and consisted of a video collage of commercials that had been re-worked using a synthesizer. In Good Morning Mr. Orwell (1984), the process was even more advanced. Paik called upon artists from all over the world and produced an ensemble of images from the four corners of the globe. He then synthesized the images, combined and re-combined them and then broadcast them live and on tape.
1. An artistic process that consists of pasting various elements (paper, small objects) onto a paper or can- vas surface. Collage implies two operations: extracting ele- ments and then integrating them into a new whole. Through borrowing, the artist creates new meaning. Such borrowings may involve elements taken from reproductions of famous paintings or even entire paintings. Collage was first intro- duced as a visual art in 1913, by Braque, Picasso and the cubist movement, and is still practiced today. When large objects are integrated into an installation, the process is called bricolage, a concept defined by Claude Lévi-Strauss in 1958.
2. In computer graphics, a technique that consists of pasting pieces from different pictures or texts onto an image. This technique originated with and was successfully used by the Visible Language Workshop, founded in 1976 at the Massachusetts Institute of Technology, under the direction of Muriel Cooper.
3. In music, technique in which extracts from different recordings are brought together.
4. In video, a montage technique that involves editing filmed images and images from existing videotapes and re-working them using special effects: superimposition, juxtaposition, wipe, window, illustration, etc. Electronic collage follows in the tradition of visual arts techniques. The range of possibilities made avail- able by technology (through synthesizers, computer graph- ics, personal computers) leads to the production of highly complex collages. The distortion of images from different sources (film, television) by a synthesizer, and their quick passage across the screen, is a form of electronic collage. More advanced examples of the process include recorded and live images that are mixed together, then synthesized. The live and recorded images are then combined and re- combined. In 1970, Korean-born American artist Nam June Paik, in cooperation with Japanese engineer Shuya Abe, developed a video synthesizer, called the Paik-Abe Video Synthesizer, that could be used to distort images and move them quickly across the screen. Paik and his technicians demonstrated the device for radio station WGBH in Boston, playing it to a Beatles tune. Global Groove (1973), which Paik produced with the support of television station WNET in New York, was one of the first examples of this type of collage and consisted of a video collage of commercials that had been re-worked using a synthesizer. In Good Morning Mr. Orwell (1984), the process was even more advanced. Paik called upon artists from all over the world and produced an ensemble of images from the four corners of the globe. He then synthesized the images, combined and re-combined them and then broadcast them live and on tape.
New Media Dictionary
Poissant, Louise. Nelson, Lou.
Leonardo, Volume 36, Number 3, June 2003, pp. 233-236 (Article) Published by The MIT Press
No comments:
Post a Comment