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  • duo B vs viDEO sAVant at EIC

    Type:
    Media
    Description/Abstract:
    Performance recorded for the Experiments in Cinema Festival, Albuquerque, NM
    Creator/Author:
    Woodman, Charles
    Submitter:
    Charles Woodman
    Date Uploaded:
    06/19/2023
    Date Modified:
    06/19/2023
    Date Created:
    2022-04
    License:
    All rights reserved

  • Excavate

    Type:
    Media
    Description/Abstract:
    -Composer, Belinda Reyolds -Percussion and Vocals, University of Texas Percussion Ensemble Thomas Burrit, Director -Image, Charles Woodman
    Creator/Author:
    Woodman, Charles
    Submitter:
    Charles Woodman
    Date Uploaded:
    06/19/2023
    Date Modified:
    06/19/2023
    Date Created:
    2023-06
    License:
    All rights reserved

  • Views from the Window: Conveying Harmony Under Different Atmospheric Conditions in Camille Pissarro’s Boulevard Montmartre Series

    Type:
    Student Work
    Description/Abstract:
    The only artist to be featured at all eight Impressionist Exhibitions in Paris was Camille Pissarro. The Impressionist movement emerged during a period of rapid social change and growing industrialization with more people moving to cities. In Pissarro’s works, he specifically concentrated on the conditions of different weather and times of day to alter how he painted scenes of a city. My paper focuses on the Boulevard Montmartre series and his use of building tonal relationships and skill of lighting placement across the fourteen paintings in order to establish a harmonious composition where the day’s essence radiates off the canvas.
    Creator/Author:
    Reinhold, Emily
    Submitter:
    Emily Reinhold
    Date Uploaded:
    04/25/2023
    Date Modified:
    04/25/2023
    Date Created:
    2023-04-20
    License:
    Public Domain Mark 1.0

  • Delphi touchscreen art installation

    Type:
    Media
    Description/Abstract:
    Delphi - a touchscreen video game art installation for galleries and museums. Viewers can explore a contemporary interpretation of the ancient Greek site of Delphi, home of a mythical oracle. The Delphi gallery installation, designed for museums and cultural centers, gives each visitor about ten minutes to explore Delphi and visit the oracle to get a personalized message. The installation is easy to use, and accessible for general audiences of all ages and degrees of experience. Two cubes (or a cube and a chair) are placed on a 7cm high, 2m square plinth stage; the large cube is a ventilated cabinet and tabletop for a touchscreen, the other cube is a seat. As players step up onto the plinth to interact with the touchscreen to explore the virtual world, they enter the installation observed by the other gallery visitors who watch the interaction on large video screens around them, displaying the virtual environment of Delphi onto the gallery walls, with soft, ambient sound of the Greek countryside and occasional interactive events. Delphi requires controlled lighting and electricity, between 50-500 sq meters, large video displays, audio, plinth, and two cubes (or cube and chair) as above. An area of about 500 square meters is optimal, although smaller is possible. A CAVE version of Delphi is currently being researched. Visitors can explore the environment in and around the hills and monuments of Delphi. By artificial intelligence, Delphi responds by AI to each visitors style of play, actions, responses, and behavior, choosing a classic Delphic maxim (150 Delphic maxims drawn from historical and literary sources) for each player in turn. Unzip Delphi_Oracle_install.zip into a Windows folder to create a folder called Delphi_Oracle and its contents. Change directories to browse into the Delphi_Oracle folder, and double-click on Delphi_Oracle.exe to play Delphi. If Microsoft Smartscreen asks to prevent an unrecognized app, click More info, and click Run anyway. With mouse or touchscreen you can move and interact onscreen; Slow or stop, left mouse button or touch the center of the screen Move forward, mouse button or touch center top of screen (higher = faster) Move backward, mouse button or touch center bottom of screen (lower = faster) Turn right, mouse or touch right side of screen Turn left, mouse or touch left side of screen Look up and down, left and right mouse buttons together (or two fingers) A touchscreen makes it feel very immersive, and a mouse also works just fine too. Currently working to run Delphi in the CAVE software for CAVE systems. Delphi is first and foremost a work of contemporary art and an interpretive reconstruction of a cultural treasure for everyone. Looking for a contemporary art gallery where I can premiere it. -benb copyright 2022 Benjamin Britton June 14, 2022 all rights reserved
    Creator/Author:
    Britton, Benjamin
    Submitter:
    Benjamin Britton
    Date Uploaded:
    06/16/2022
    Date Modified:
    06/16/2022
    Date Created:
    2022-06-16
    License:
    All rights reserved

  • Britton_ImmersiveExperience

    Type:
    Media
    Description/Abstract:
    Benjamin Britton: A review of some past and current creative research, 2022. -benb
    Creator/Author:
    Britton, Benjamin
    Submitter:
    Benjamin Britton
    Date Uploaded:
    05/11/2022
    Date Modified:
    05/13/2022
    Date Created:
    2022-05-10
    License:
    All rights reserved

  • Max Pechstein: Seeking Change Through Das Vater Unser

    Type:
    Document
    Description/Abstract:
    Art History Thesis
    Creator/Author:
    Kumar, Mika
    Submitter:
    Mika Kumar
    Date Uploaded:
    04/20/2022
    Date Modified:
    04/20/2022
    Date Created:
    2022-04-21
    License:
    Open Data Commons Public Domain Dedication and License (PDDL)

  • “Then I am Praying”: War, Religion, and Shared Suffering in the Pechstein and Kollwitz Prints at the University of Cincinnati Art Collection

    Type:
    Student Work
    Description/Abstract:
    The University of Cincinnati Art Collection houses prints by two early 20th century German Expressionist printmakers, Max Pechstein (1881-1955) and Käthe Kollwitz (1867-1945). Pechstein’s Das Vater Unser (The Lord’s Prayer) series (1921) originally a portfolio of twelve, is represented in the University of Cincinnati Art Collection with nine of the bold woodcut prints. Kollwitz’s small postcard lithographs, Two Chatting Women with Two Children (c. 1930) and The Hospital Visit (c. 1926), are intimate and show the artists soft touch. Though formally very different, these prints share a common subject, the suffering of Germans during the interwar period (1918-1939). Both artists personally experienced both World Wars and their tragedies, and while Pechstein rarely addressed it directly, Kollwitz’s career was full of her antiwar sentiments. The prints grapple with the grief, political turmoil, and financial difficulties associated with the interwar period and each artist turns to their own form of religion to exercise their pain.
    Creator/Author:
    O'Deens, Shannon
    Submitter:
    Shannon O'Deens
    Date Uploaded:
    04/07/2022
    Date Modified:
    04/26/2022
    Date Created:
    April 20, 2022
    License:
    All rights reserved

  • Max Pechstein: Seeking Change Through Das Vater Unser

    Type:
    Document
    Description/Abstract:
    TEST
    Creator/Author:
    Kumar, Mika
    Submitter:
    Mika Kumar
    Date Uploaded:
    03/31/2022
    Date Modified:
    04/08/2022
    License:
    All rights reserved

  • Artistic Self-Consciousness in Pietro Lorenzetti's Arezzo Altarpiece

    Type:
    Article
    Description/Abstract:
    “With his Right Hand”: Signatures, Pictorial Gestures, and Artistic Self-Consciousness in Pietro Lorenzetti’s Arezzo Polyptych Pietro Lorenzetti signed no fewer than nine paintings during his career, more than any other European artist until Jan van Eyck a century later. He also left an unprecedented “double signature” on one work, with the first inscription prominently visible to the public and the second hidden and known only to the painter. Written along the lower edge of altarpieces and panels, Lorenzetti’s signatures are usually simple and concise, following formulas previously adopted by medieval Italian artists. But two of his earliest inscriptions, on the Cortona Madonna (ca. 1315) and Arezzo Polyptych (1320-1324), differ by including the word “dextra”: “Petrus Laurentii hanc pinxit dextra senensis.” These signatures can be translated as “Pietro di Lorenzo of Siena painted this [work] with his right hand.” Like his unparalleled proclivity for signing paintings, Lorenzetti’s use of “dextra” in these inscriptions can inform us about his specific works, pictorial language and artistic personality. By stating that the Arezzo Polyptych was painted “with his right hand,” Lorenzetti naturally drew attention to his manual dexterity and the glorious product of his extensive handiwork. Simultaneously it put Lorenzetti’s paintings in relation to the work of esteemed artists such as Giunta Pisano who had already referred to their own expert hands in their signatures. If we look at the Arezzo Polyptych’s content, Lorenzetti’s “dextra” encourages viewers to consider the formal connections between the artist’s hand and the hands of figures he painted, including the dextra Dei depicted in the Annunciation and the pointing hand of John the Baptist indicating the Christ Child, both of which are vertically aligned with Pietro’s signature. Such visual resonances between text and image suggest that Lorenzetti was self-consciously linking his creative act with the divine work of God and the saints. What inspired Lorenzetti to sign so many of his paintings, and, on occasion, to do so in such a self-aggrandizing way? The painter was surrounded by several significant artists who created prominent works with signatures. They include Giunta Pisano, Margaritone d’Arezzo, Giovanni Pisano, and Duccio, and if Lorenzetti did not collaborate directly with them, he surely would have seen their paintings and sculptures in Arezzo, Assisi, Siena, and elsewhere. Moreover, having secured at a young age several highly important commissions in Tuscany and Umbria, including the fresco cycle in the left transept of the Lower Church at Assisi, Lorenzetti would have had more than enough self-confidence to inscribe himself—and his right hand—into the Arezzo Polyptych.
    Creator/Author:
    Platts, Christopher
    Submitter:
    Christopher Platts
    Date Uploaded:
    03/25/2022
    Date Modified:
    03/25/2022
    Date Created:
    2019-01-01
    License:
    Public Domain Mark 1.0

  • Words

    Type:
    Media
    Description/Abstract:
    Belinda Reynolds (music), Ting Luo (piano and poetry), Charles Woodman (images) WORDS is a multimedia piano work with spoken words and visuals. The vocal part consists of an aural collage of Miss Luo, reciting in Mandarin and English, a poem written by herself, about the story of her grandfather, a composer during the late 20th century in China. The interplay between the audio collage, the video, and the piano part, create a multimedia composition that immerses the audience in a blanket of enticing, reflective sound-visual experiences.
    Creator/Author:
    Woodman, Charles
    Submitter:
    Charles Woodman
    Date Uploaded:
    01/12/2022
    Date Modified:
    01/12/2022
    Date Created:
    2022
    License:
    All rights reserved