2010년 12월 14일 화요일

Title. Blue and grey_Mark rothko"

Wild sea

wild[heavy] sea[waves, waters]

The waves aren't that big[high].

2010년 12월 11일 토요일

Particles no.25000's SPACE

Out of battery ㅠ,ㅠ
particles No.25000 from Chae Won on Vimeo.

2010년 12월 10일 금요일

Circuit

circuit from Anne of green gables on Vimeo.

2010년 12월 3일 금요일

Mark Rothko's ..and Dwele_Free As A Bird.mp3

Untitled from anne of green gables on Vimeo.

var url=new URLRequest("Dwele - Free As A Bird.mp3")
var s:Sound = new Sound(url)
var sh:SoundChannel = s.play();
var sw = stage.stageWidth
var bottom = stage.stageHeight
stage.addEventListener(Event.ENTER_FRAME,loop);
var bmd:BitmapData = new BitmapData(sw,bottom)
var bmp:Bitmap=new Bitmap(bmd);
addChild(bmp);
// 색 추출시의 파렛트 역할하는 비트맵 --------------
var bmd2:BitmapData= new BitmapData(sw,bottom);
bmd2.draw(faceMc);
//--------------------------------------------------
function loop (e){
var byteArray:ByteArray = new ByteArray();
SoundMixer.computeSpectrum(byteArray,true); //양수만 뽑으려면 true 다 뽑으려면 안씀
this.graphics.clear();

for(var i=0; i<200; i++){
  var px = Math.random()*sw;
  var py = Math.random()*bottom;
  var color = bmd2.getPixel(px,py);
  var spectValue = byteArray.readFloat()*100;
   this.graphics.lineStyle(spectValue/100,color,1.7)
   this.graphics.moveTo(px,py)

if(Math.random()>0.5){
   this.graphics.lineTo(px+spectValue,py+spectValue);
}else{
   this.graphics.lineTo(px-spectValue,py+spectValue);
}

//this.graphics.lineTo(px+spectValue,py+spectValue);
}
bmd.draw(this);
}

Green, white and yellow on yellow by Mark Rothko

Green, white and yellow on yellow
Paper size
80cm x 60cm
32" x 24"

About Mark Rothko

Mark Rothko's paintings with their large expanses of colour and uneven, hazy divisions between them, strive to convey emotions rarely attempted in modern art. While his work is greatly admired by many, his detractors either view his attempts at expressing the sublime as over-ambitious or see his paintings merely as boring and wholly unimpressive.

2010년 11월 5일 금요일

Mark Rothko

b. 1903, Dvinsk, Russia; d. 1970, New York City

Mark Rothko was born Marcus Rothkowitz on September 25, 1903, in Dvinsk, Russia (now Latvia). In 1913 he left Russia and settled with the rest of his family in Portland, Oregon. Rothko attended Yale University, New Haven, on a scholarship from 1921 to 1923. That year he left Yale without receiving a degree and moved to New York. In 1925 he studied under Max Weber at the Art Students League. He participated in his first group exhibition at the Opportunity Galleries, New York, in 1928. During the early 1930s Rothko became a close friend of Milton Avery and Adolph Gottlieb. His first solo show took place at the Portland Art Museum in 1933.

Mark Rothko, Untitled (three nudes), c.1926/1935, National Gallery of Art

Mark Rothko, Entrance to Subway [Subway Scene], 1938, Collection of Kate Rothko Prizel

Rothko’s first solo exhibition in New York was held at the Contemporary Arts Gallery in 1933. In 1935 he was a founding member of the Ten, a group of artists sympathetic to abstraction and Expressionism [more]. He executed easel paintings for the WPA Federal Art Project from 1936 to 1937. By 1936 Rothko knew Barnett Newman. In the early 1940s he worked closely with Gottlieb, developing a painting style with mythological content, simple flat shapes, and imagery inspired by primitive art. By mid-decade his work incorporated Surrealist techniques and images. Peggy Guggenheim gave Rothko a solo show at Art of This Century in New York in 1945.

Mark Rothko, Underground Fantasy [Subway], c.1940, National Gallery of Art

Mark Rothko, Untitled [Multiform], 1948, Collection of Kate Rothko Prizel

Mark Rothko, Untitled, 1949, National Gallery of Art

In 1947 and 1949 Rothko taught at the California School of Fine Arts, San Francisco, where Clyfford Still was a fellow instructor. With William Baziotes, David Hare, and Robert Motherwell, Rothko founded the short-lived Subjects of the Artist school in New York in 1948. The late 1940s and early 1950s saw the emergence of Rothko’s mature style, in which frontal, luminous rectangles seem to hover on the canvas surface. In 1958 the artist began his first commission, monumental paintings for the Four Seasons Restaurant in New York. The Museum of Modern Art, New York, gave Rothko an important solo exhibition in 1961. He completed murals for Harvard University in 1962 and in 1964 accepted a mural commission for an interdenominational chapel in Houston. Rothko took his own life on February 25, 1970, in his New York studio. A year later the Rothko Chapel in Houston was dedicated.

Mark Rothko, Untitled, 1953, National Gallery of Art

Anish Kapoor

Anish Kapoor's tangled tower at the heart of London 2012
Artistic centrepiece of the 2012 Olympic Park will be slightly taller than Big Ben and the Statue of Liberty

It will be slightly taller than Big Ben and the Statue of Liberty, just short of the Great Pyramid of Giza and considerably shorter than the structure to which it is being compared – the Eiffel Tower. And even though it is still just a computer-generated model, it is already gathering nicknames: the Colossus of Stratford, perhaps, or the Hubble Bubble.

The official title, however, will be the ArcelorMittal Orbit and it was yesterday unveiled as the £19.1m artistic centrepiece of the 2012 Olympic Park. Designed by artist Anish Kapoor and structural engineer Cecil Balmond, the 115 metre-tall red steel tower will dominate the east London landscape and become, it is hoped, a permanent visitor attraction for generations to come.
Most of the money for it – £16m – is being provided by the steel magnate Lakshmi Mittal, Europe's richest man, while the remainder will come from the Greater London Authority.

Boris Johnson conceded that some people would say that "we are nuts, we are barmy in the depths of a recession to be building Britain's biggest ever piece of public art". But the mayor said the Olympic park had needed something extra to arouse "the curiosity and wonder" of Londoners and visitors.
The idea is that 700 people an hour will be able to use lifts to reach a viewing platform offering spectacular views over London. If they wish, they can then walk back to the ground on a looping stairway.

Kapoor and Balmond's Orbit, which will be placed between the aquatics centre and the main stadium, was chosen from a shortlist of three, beating tower-based bids by the artist Antony Gormley and the architects Caruso St John.

Johnson said he got Mittal on board as a result of a chance meeting in a cloakroom at the World Economic Forum in Davos. He spent 40 seconds outlining the concept and Mittal immediately said he would provide the steel. In total, 1,400 tonnes will be required for a build that will begin soon and is due for completion in November 2011.

Johnson is well aware that the public may baptise it differently to its given name. "Some may choose to think of it as a Colossus of Stratford, some eyes may detect a giant treble clef, a helter-skelter, a supersized mutant trombone. Some may even see the world's biggest ever representation of a shisha pipe and call it the Hubble Bubble. But I know it is the ArcelorMittal Orbit and it represents the dynamism of a city coming out of recession, the embodiment of the cross-fertilisation of cultures and styles that makes London the world capital of arts and culture."

Big symbolic London visitor attractions have a mixed history. The Brunels' Victorian Thames Tunnel was a big hit but never made money and is now used by tube trains. The Festival of Britain Skylon was toppled on the orders of Winston Churchill and made into ashtrays. The London Eye has had much more success.

It is yet to be decided whether people will be charged to go up the tower butthere will be revenue-generating opportunities for the GLA and Mittal from a restaurant on the viewing platform.
Kapoor called it "the commission of a lifetime". He said he and Balmond were referencing the Tower of Babel and trying to convey a sense of instability and a tower that could be viewed differently from different parts of the city. "It is an object that needs a journey, a journey around the object but also up and through the object. It needs real participation and engagement."

-------------------------------------------------------------------------------
Anish Kapoor: Past, Present, Future assembles 14 works made since 1980, a period in which Kapoor's sculptures and installations have grown increasingly ambitious and complex. The first U.S. museum survey of Kapoor's art in more than 15 years, and the first ever to be seen on the East Coast, the exhibition premieres a new resin sculpture and features many pieces on view for the first time in this country.

In the hands of sculptor Anish Kapoor, forms become at once monumental and evanescent, present and absent, physical and ethereal. Whether using the materials of classical sculpture like stone and bronze or newly applied forms of aluminum, pigment, enamel, resin, polymer, and PVC, Kapoor's sculpture seems to disappear, dissolve, levitate, or extend beyond a space the viewer can perceive.

The sculptor, born in Bombay and based in London, is perhaps best known in the U.S. for Cloud Gate, a permanent 110-ton sculpture of highly-polished stainless steel created for Chicago's Millennium Park, and Sky Mirror, a breathtaking, 35-foot-diameter concave mirror that was shown in 2006 at Rockefeller Center in New York. Kapoor emerged as one of a highly inventive generation of British sculptors during the 1980s, and since then has created a body of work that has married a modernist sense of pure materiality with a fascination for the manipulation of form and the perception of space.

Yves Klein

Yves Klein: With the Void, Full Powers

May 20, 2010 to September 12, 2010

One of the last century’s most influential artists, Yves Klein (French, b. Nice, 1928; d. Paris, 1962) took the European art scene by storm in a prolific career that lasted only from 1954 to 1962, when he suffered a heart attack at the age of 34. Yves Klein: With the Void, Full Powers is the first major retrospective of the artist’s work in the United States in nearly 30 years.

The exhibition will include examples from all of Klein’s major series, including his Anthropometries, Cosmogonies, fire paintings, planetary reliefs, and blue monochromes, as well as selections of his lesser-known gold and pink monochromes, body and sponge reliefs, “air architecture,” and immaterial works. The installation will also foreground the artist’s process and conceptual projects through a range of ephemera, including sketches, photographs, letters, and writings.

Yves Klein created what he considered his first artwork when he signed the sky above Nice in 1947, making his earliest attempt to capture the immaterial. Klein was an innovator who embraced painting, sculpture, performance, photography, music, theater, film, architecture, and theoretical writing. Self-identified as “the painter of space,” he sought to achieve immaterial spirituality through pure color (primarily an ultramarine blue of his own invention—International Klein Blue).

The artist’s diverse body of work represents a pivotal transition from modern art’s concern with the material object to contemporary notions of the conceptual nature of art and is informed by Klein’s study of the mystical sect Rosicrucianism, philosophical and poetic investigations of space and science, and the practice of Judo.

The exhibition is co-organized by the Hirshhorn and the Walker Art Center in Minneapolis, and is co-curated by Hirshhorn deputy director and chief curator Kerry Brougher and Philippe Vergne, director of Dia Art Foundation.

Yves Klein: With the Void, Full Powers is co-organized by the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, and the Walker Art Center, Minneapolis, MN.

The exhibition is made possible by major support from Martha and Bruce Atwater, Judy Dayton, and the Andy Warhol Foundation for the Visual Arts. Additional generous support provided by Constance R. Caplan and Lewis and Barbara Shrensky. Major support for the catalogue is provided by Sotheby’s with additional support from L&M Arts in New York and Heather James Fine Art.

Aagain try to thinking about color, abstract img!

2010년 10월 25일 월요일

Then, How can I make logic? algorithm? coding? [ geometry ----> abstract ]

Circle = ego_00 = ego_01 = ego_02 = ego_03 = ego_04 =.........

so, circle's 256 true color means Multiple Selves.

Scale a fish

Change color when the abstract image's side meeting another side.

IdeaConcept_sketch_03

IdeaConcept_sketch_02

IdeaConcept_sketch_01

IdeaConcept; Multiple Selves; 256 RGB trueColor;

I = Multiple Selves = RGB trueColor
Why my another nama is Anne?

2010년 10월 18일 월요일

Multiple selves.............................................................................concept

I (ChaeWoun; Reality) = Anne of green gables(on +offline) = Redhair avatar (online)
= Gammer( online) = surrealist painter ( in dream ) = Tennis player(ps)

Looks like an othet people? N~~~o, All ego.....It's me!

Maybe,,,,if now is 1976 then I must go hospital.

but I'm not crase crazy!

There is me.

Sometimes nonmaterial , no spatial, no morphological, no time factor

Roy Ascott

.......................

------------------------------------------------------------------------------------------------------------

Everyboy get the original COLOR.

Usually, old person is red color, because red make comfortable his weakening heartbeat.Religious people , Doctor or judge etc............and each color got a anoter frequence.

Frequence is samething the SOUND.
so, Finilly I will try to find my sound,color,ego!

by Flish ActionScript

Between sound and -> visual

var mic:Microphone = Microphone.getMicrophone();
Security.showSettings ("2");
mic.setLoopBack(true);

if (mic != null) {
mic.setUseEchoSuppression(true);
mic.addEventListener(ActivityEvent.ACTIVITY, activityHandler);
addEventListener(Event.ENTER_FRAME, loop)
}
function activityHandler(event:ActivityEvent):void {
trace("activityHandler: " + event);
}

var vr:Number = 30;
function loop(e:Event){
vr = vr * 0.98;
mc.rotation = mc.rotation +vr;
}
var timer:Timer = new Timer(100)
timer.addEventListener(TimerEvent.TIMER, timerFn)
timer.start()
function timerFn(e:TimerEvent) {
if(mic.activityLevel > 10) {
vr = mic.activityLevel/2
}
}

------------------------------------------------------------------------------------------------------------

// 1. 재생 / 정지 / 볼륨 / 팬 / 스팩트럼 /
import com.greensock.*;
var http://www.blogger.com/URLRequest = new URLRequest("sound/Ocean05_That Black_Ocean.mp3");
var s:Sound = new Sound(url);
var sh:SoundChannel = s.play();
var startTime:Number=0;
// 재생 / 정지
pauseBtn.addEventListener(MouseEvent.CLICK, pauseSound);
playBtn.addEventListener(MouseEvent.CLICK,    playSound);
function pauseSound(e:MouseEvent) {
if (sh !=null ) {
  startTime = sh.position;// 현재 사운드위치 저장..
  sh.stop();
  sh = null;
}
}
function playSound(e:MouseEvent) {
if ( sh == null ) {
  sh = s.play(startTime);
}
}
// 상황을 체크 하기 위한...부분 --------------------------
var timer:Timer = new Timer(100);
timer.addEventListener(TimerEvent.TIMER, loop);
timer.start();
function loop(e:TimerEvent) {
//Lmc.scaleY = ( sh.leftPeak )
//Rmc.scaleY = ( sh.rightPeak )
if ( sh != null ) {
  var st:SoundTransform = new SoundTransform();
  st.volume = mouseX / 500;
  sh.soundTransform = st;
  TweenLite.to(Lmc,0.3, {scaleY:sh.leftPeak});
  TweenLite.to(Rmc,0.3, {scaleY:sh.rightPeak});
  bar.scaleX = sh.position / s.length;//( 현재 사운드 위치/사운드 전체 길이)
  computeSpec();
}
}
//----------------------------------------------------
var byteInfo:ByteArray = new ByteArray();
var holderArr:Array = new Array();
function computeSpec() {
SoundMixer.computeSpectrum(byteInfo, true);

for (var i=0; i< 256; i++) {
   //holderArr[i].scaleY = byteInfo.readFloat();
    holderArr[i].rotation = byteInfo.readFloat()*160 ;
    holderArr[i].alpha = 1- byteInfo.readFloat() ;
}
}

for (var i=0 ; i<256; i++) {
var temp:SpecMc = new SpecMc()
temp.x = i * 3.5 + 50
temp.y = stage.stageHeight
addChild(temp)
holderArr.push(temp);