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TheAbstractssection of Leonardo is intended to be a rapid publicationf m m . Texts can he up to 750words in lengthwith no illustrations, or up to 500 wwds in k g t h w'tk one black-and-whiteillustration. Abstracts are acqtedfor publicationupon the mommdation of any one member of the Leonardo Editm'al Board, who we'll then farward it to the Main Editorial O@ce with his or her endorsmmt. EXPERIMENTINGWITH COMPUTERGRAPHICS: IN SEARCH OFAESTHETIC OBJEcnvrry Prabhakar Banve,C4HighwaySociety, 46, ShivSrushti,Kurla (E), Bombay 400 024, India. Received 23 September 1991. Acceptedfor publicationby RogerF. Malinu. I was given an exciting proposal by Sonal and Abhay, the organizersof the State of the Art exhibition held in Bombay inJanuary 1991,to experiment with new images on an Apple Macintosh personal computer. It was exciting because it provided an opportunity for me to enter into a new area of visual experience. With the computer, it i s possible to combine scientificprecision with aestheticapproximation in creating art. Although I knew nothing about computers, I was curious so I accepted the proposal. There was a certain fear in my mind of losing creative freedom in this completely mechanicalprocess. On the other hand, the computer offered countlesspossibilitiesin colours, textures and multiple variations of form,which was encouraging. However, superglow coloursand weird perspectives do not interest me, so I decided to limit myself to two-dimensionalgraphic possibilities. With Sonal and Abhay's help, I began experimenting with differentjuxtapositions of the visual material of my choice, such as a leaf, a safety pin and a clock hand. Once the image was finalis ed on the computer, it was then enlarged with a laser printer and I transferred it to the canvas manually. After this, I had freedom to paint with my usual enamel paints. I preferred this process because the body of color that is Fig. 1. Prabhakar Banve, Eighty-Five safe3)Pins, enamel paint on canvas, 150 x 120an,1990.This work presentsa uniqueformal structurebidden in commonplaceobjects. apparent with enamel paints, I noticed, was missingin the computer print-it resembled a glossy magazineprint, without the dignityof oil colour. In Eighty-Fivek & t y Pins(Fig. l),formal variationsof safetypin size and the interrelationshipsof pin groupswere based on chance assembly,similarto a random falling together of the pins. The curves of the safetypin, achieved through short, straightlines, created a differentvisual reality,akin to the visual characterof a typewrittenword in relation to handwriting . I feel that a commonplaceobject like the safetypin becomes aesthetically meaningfulwhen we look at it objectively . In a way, this is how the computer seesit-objectively, without indulgingin any emotional bias. COMPUTER USERS' REPORT: ART IS STILLART Lynne Roberts-Goodwin,157 Buckland St.,Alexandria, 2015 Sydney,Australia. Phillip George, 11 Miller St., Bondi, 2026 Sydney,Australia. Received 21 December 1990.Acceptedfor publicution by RogerF. Malina. We believe that the only possibleway that computer graphics can be used within a fine-artcontext is for artiststo utilize them within their existingpractices . The artist visualizes the primary concept, then sets about making an artifact of this concept. If the artifact is not made tangible,there can be no dialoguewith the viewer, as it is more difficult to experience an intangiblepiece of information than a tangible, accessible artifact. This artifact,then, is not only physically engaging,but has the potential to be placed in the broader spectrum of visual communication and contemporary art practice. The computer system and related software are the facilitators,not the dominators , of projects. It is here that a parallel and a distinctionbetween artistsand mathematicianscan be drawn.Amathematician has an equation (concept).It is then processed through a computer, which assists in visualising the concept. With the aid of the computer's graphic Q 1993BAST LEONARDO,Vol. 26, No. 1, pp. 79-78,1993 73 ...


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