Un système monosémique

C’est l’ensemble des règles d’un système graphique de signes pour la transmission d’une information.

Jacques Bertin

La sémiologie graphique est une discipline qui s’occupe :

• de la transcription, dans le système graphique d’un signe, d’un ensemble de données ;

• du traitement de ces données afin de faire apparaître l’information d’ensemble recherchée;

• de la construction d’images les mieux adaptées à communiquer cette information.

DYSPRAXIA

Rencontres

Chapitre 5 – Les dyspraxies

Rencontre avec les dessinateurs Ludovic et Jéremy Boulard Le Fur

 

Dans le cadre du cours intitulé « Sémiologie graphique« , l’École supérieure d’art et design Le Havre – Rouen accueille les dessinateurs Ludovic et Jéremy Boulard Le Fur.

5.4 – Les dyspraxies Sections Sous-sections 5.4.1 Définition Trouble de la planification, de la préprogrammation des gestes complexes, intentionnels et finalisés ≠ gestes réflexes (apprentissage). → Enfant maladroit → Difficultés de construction Acquisition facultative, influence culturelle, dépendent des apprentissages. 5.4.2 Approche neurologique Atteinte des fonctions du cerveau se rapportant à l’action ⇒ pénalise le geste dans sa précision, sa rapidité, son organisation. Elle concerne la pensée de l’action ou sa réalisation ⇒ mêmes zones cérébrales. Zones pariétales Zones frontales

DYSLEXIA by RIKST WESTRA

((the 2D version | Rikst Westra)

(First, understanding our brain | Rikst Westra)

Expertise-induced amnesia

Sidney Crosby in Vancouver, playing for Team Canada

This phenomenon is based on the assumption that reducing or diverting the amount of attention paid to material being encoded and stored will reduce the quality and quantity of the later retrieval of that material in a form that is explicit and reportable. So, if a well learned skill is stored as a procedural memory, and its retrieval and subsequent performance is mostly unconscious and automatic, there is evidence showing that the explicit recollection of what happened during the performance will be reduced.^[27] A recent example illustrates this concept nicely. Immediately following Sidney Crosby’s overtime goal against the USA, winning the 2010 Olympic Gold Medal for Canada in men’s ice hockey, a reporter with TSN did an on-ice interview with Crosby: “ Sid, if you can, just take us through how that goal went in” Crosby replied: “I don’t really remember, I just shot it – I think from around here. That’s all I really remember. I think it went 5-hole, but, um, I didn’t really see it to be honest”.^[34] A reported 16.6 million Canadians watched Sidney’s goal, and it’s safe to assume that most of them would have been able to easily recollect the details, but not Crosby; he was immersed in an automatic state that at least temporarily blocked his ability to remember.

Magnet motor free energy generator

The Magnet motor (or magnet engine) free energy generator is a decent, powerfull and well-looking topology of a free energy generator. It works on a principle of the powerfull neodymium permanent magnets. When the magnetic force reachs the necessary level to overcome the friction, the motor RPM ramps up and reachs the equilibrum value.

Written by Jorma Hyypia for Science & Mecanics Magazine, Spring 1980 edition. “We don’t grant patents on perpetual motion machines,” said the examiners at the U.S. Patent Office. “It won’t work because it violates the law of Conservation of Energy,” said one physicist after another. But because, inventor Howard Johnson is not the sort of man to be intimidated by such seemingly authoritative pronouncements, he now owns U.S. Patent No. 4,151,431 which describes how it is possible to generate motive power, as in a motor, using only the energy contained in the atoms of permanent magnets. That’s right. Johnson has discovered how to build motors that run without an input of electricity or any other kind of external energy!

Myron Krueger

1969 – VIDEOPLACE by artist, Myron KruegerVideoplace is an early example of augmented reality art, done by an artist whose interests lay mostly in VR. The installation features computer projection that interacts with the viewer’s physical shadow. — jtnimoy Myron Krueger is one of the original pioneers of virtual reality and interactive art. Beginning in 1969, Krueger developed the prototypes for what would eventually be called Virtual Reality. These “responsive environments” responded to the movement and gesture of the viewer through an elaborate system of sensing floors, graphic tables, and video cameras. Audience members could directly interact with the video projections of others interacted with a shared environment. Krueger also pioneered the development of unencumbered, full-body participation in computer-created telecommunication experiences and coined the term “Artificial Reality” in 1973 to describe the ultimate expression of this concept. — Jeremy Turner of CTheory After several other experiments, VIDEOPLACEwas created where the computer had control over the relationship between the participant’s image and the objects in the graphic scene. It could coordinate the movement of a graphic object with the actions of the participant. While gravity affects the physical body, it may not control or confine the image which could float, if needed. A series of simulations could be programmed based on any action and Videoplace offered over 50 compositions and interactions (including Critter, Individual Medley, Fractal, Finger Painting, Digital Drawing, Body Surfacing, Replay, among others). To illustrate, when the participant’s silhouette pushed a graphic object-the computer could choose to move the object or the silhouette. Or, as in Finger Painting where each finger created flowing paint without the distraction of the silhouette. — from Praveen Vajpeyi’s Parsons Thesis Originally trained as a computer scientist, Myron Krueger, under the influence of John Cage’s experiments in indeterminacy and audience participation, pioneered human-computer interaction in the context of physical environments. Beginning in 1969, he collaborated with artist and engineer colleagues to create artworks that responded to the movement and gesture of the viewer through an elaborate system of sensing floors, graphic tables, and video cameras. At the heart of Krueger’s contribution to interactive computer art was the notion of the artist as a “composer” of intelligent, real-time computer-mediated spaces, or “responsive environments,” as he called them. Krueger “composed” environments, such as Videoplace from 1970, in which the computer responded to the gestures of the audience by interpreting, and even anticipating, their actions. Audience members could “touch” each other’s video-generated silhouettes, as well as manipulate the odd, playful assortment of graphical objects and animated organisms that appeared on the screen, imbued with the presence of artificial life. –quoted from ArtMuseum.net Those images at the top of the page are probably © Myron Krueger, and are being used without his expressed consent. I pasted them from the cited sources.

http://jtnimoy.net/itp/newmediahistory/videoplace/

En 1955, Victor Vasarely   publie le Manifeste jaune qui théorise l’art optique et cinétique.

(Győző Vásárhelyi)

http://fr.wikipedia.org/wiki/Art_cin%C3%A9tique

• Marc Cavell
• Yaacov Agam
• David Ascalon
• Martha Boto
• Pol Bury
• Alexander Calder
• Ivan Contreras-Brunet
• Carlos Cruz-Diez
• Hugo Demarco
• Malachi Farrel
• Horacio Garcia Rossi
• Théo Jansen
• Gilles Larrain
• Julio Le Parc
• Alejandro Otero
• Hugo Demarco
• Youri Messen-Jaschin
• Joëlle Morosoli
• Hans-Walter Müller
• George Rickey
• Bridget Riley
• Nicolas Schöffer
• Francisco Sobrino
• Jesús-Rafael Soto
• Joël Stein
• Marcel Duchamp
• Jack Vanarsky
• Marcel Van Thienen
• Grégorio Vardanega
• Victor Vasarely
• Yvaral
• Deverne
• Alexandre Dang
• Rube Goldberg

Horacio Garcia Rossi, Julio Le Parc, François Morellet, Francisco Sobrino, Joël Stein, Yvaral  Dieter Roth, Jesús Rafael Soto, Carlos Cruz-Diez, Youri Messen-Jaschin ou encore Yvaral

http://www.kineticus.org/piotr-jedrzejewski.html

Patron Membership

Kinetica has recently launched a membership programme to offer collectors, patrons, curators, art professionals, philanthropists, artists and enthusiasts various levels of engagement with Kinetica. The programme supports Kinetica’s aim to provide a platform for artistic contribution towards evolutionary processes and scientific and universal exploration, and to popularise and support the development of kinetic, electronic and new media art on an international level.

The two levels of Patron Membership, Xenon and Krypton, both include the loan of two artworks each for a period of one month per year. The memberships also provide first option to buy works from the Kinetica Art Fair VIP launch, as well as day tickets for family, friends and clients. They include exclusive access to the VIP Members area, and opportunities to meet artists and visit their studios.

La perception. Un choix de textes philosophiques, 2011

dossier pédagogique

Krypton Memberships additionally include many of the benefits of sponsorship – Krypton members will be listed as patrons of Kinetica Museum on the sponsors plaque and in the sponsors section of Kinetica websites, and credited with a full-page feature as patron sponsor in the Kinetica Art Fair catalogue.

Xenon memberships are available from £5000+vat; Krypton memberships are from £8000+vat. All memberships are per annum

For further details please contact Tony Langford.

Roger%20Vilder.jpg

Ars et Mathesis

Schémas de composition

Golden Ratio

le seul irrationnel positif de l’équation x²=x+1

Le nombre d’or est obtenu quand le rapport d’un élément d’une œuvre par rapport à un autre élément vaut 0,618.

Le nautile et son développement combinent la suite de Fibonacci et le nombre d’Or.

Gaze tracking is always an interesting subject.

 

 

Ana

JEAN FRANCOIS NICERON

LA PERSPECTIVE CURIEUSE

La Perspective curieuse ou magie artificielle des effetts merveilleux de l’optique, de la catoptrique et de la dioptrique (Dans la quelle, outre un abregé et Méthode generale de la Perspective commune, reduite en pratique sur les cinque corps reguliers, est encore enseignée la façon de faire et construire toutes sortes de figures difformes, qui estant veues de leur point paroissent dans une juste proportion, le tout par des pratiques si familières que le moins versée en la Geometrie s’en pourront faire servir avee le seul compas et la regle. Oeuvre tres-utile aux Peintres, Architects, Graveurs, sculpteurs et tous autres qui se servent Du dessein et leurs ouvrages. Par le Pere F.J.F.N. Parisien de l’Ordre des Minimes).

 

 

 

http://www.centrepompidou.fr/

Centre Pompidou Virtuel