The title is influenced by El Lissitky's Proun (which in Russian is an acronym for: Projects Affirming the New) series of paintings, and it is more of a homage to the continuation of new approaches to image making in art than any serious concern with his theories. The work also reflects the influence of Naum Gabo and all those incredible string sculptures he developed. I feel sure that if he had seen these multiple copies of wireframes generating and dissolving on the screen in real-time he would have been totally (under) overwhelmed. It also reflects the influence of the pantograph machine such as, Ivan Moscvich's Harmonograph (1968) that feature so prominently in Cybernetic Serendipity, Reichardt (1968), and was described by Hardinson (1968) as seminal in the development of computer graphics/art.
Last and not least, I feel the philosophy behind this picture extends the ideas behind the work of John Whitney Sr (1981) and James his brother, into a new and more flexible paradigm in which the chaotic parametrics of the paths used to create real time computer art pushes the basis of the geometry first expounded by the Whitney's into new realms. Whilst researching my PhD thesis it occurred to me that `musical' sounds could be embedded in the pictures, which would again extend the ideas expounded by John Whitney Sr, and I have been working on some post-doctoral ideas on these lines. Of course in this context the picture is a single frame from a symphony, and that represents another story, film, musical score or multi-media experience?
Reichardt, Jasia (1968) ed, Cybernetic Serendipity the Computer and the Arts. Studio International Special Edition, August.
Whitney Sr, John. (1981). Digital Harmony, McGraw Hill, New York.
Hardinson Jr, (1989). Disappearing Through the Skylight, Culture and Technology in the Twentieth Century, Viking, Penguin, New York. Back to Dr. Paradise's Main Page