Hiphopkins Media – nice.
Voronoi Diagrams & Entopic Graphomania
The Voronoi Diagram was codified by the Ukrainian/Russian Mathematician Georgy Voronoi in the early 20th century. It is a method of subdividing space based on a set of input points. The Voronoi diagram can be used to describe almost literally anything – from microscopic organisms to cell phone networks, and it exists at every scale, from cosmic foam to quantum foam. This series is concerned with attempting to draw the Voronoi diagram, usually generated with a computer algorithm, by hand, starting from a number of everyday situations.
Found on ske765book’s Flickr photostream.
His website.
His work on a Baltimore Artist’s Awards site.
How to [here]:
More Voronoi Diagrams here (portraits) and here (magnetic)
See also Romanian surrealist Dolfi Trost‘s entopic graphomania:
From A Journey Round My Skull (where there are 8 more of these illustrations):
Richard Shillitoe describes “entopic graphomania” on his Ithell Colquhoun website :
A method developed by the surrealists in Bucharest, in which a dot is made at the site of each impurity or difference in colour in a blank sheet of paper, and then lines are drawn between the dots. The connections may be by curved lines or (Colquhoun’s preference) straight lines only. This leads, in Colquhoun’s own words, to “the most austere kind of geometric abstraction.” The word “entoptic” derives from the Greek word meaning “within vision.” It refers to images that arise from within the optical system rather than from the outside world (for example, the common experience of floaters in the eye). Strictly speaking, therefore, the name is a misnomer. Despite her comments about favouring straight lines, only one such example, an untitled pencil drawing published in Athene is currently known. Torn Veil, a graphomania dating from 1947 incorporates shading that softens the austerity and develops the image.
Patterns over Rural India
Undercarriage
Linoleum City
Marey’s Chronograms
Dr. E. J. Marey – Chronographic image of a man in black clothes with a white stripe on the side walking past a black wall. 1884. From ‘Uit De Geschiedenis van De Fotografie’ p.132
Having read and been inspired by J. G. Ballard’s description of ‘Marey’s Chronograms’ (shouldn’t that be ‘Chronographs’?) in ‘The Atrocity Exhibition’, I assumed this was a clever Ballardian concept.
A couple of weeks ago, leafing through a flea market find ‘Uit De Geschiedenis van De Fotografie’ [From the History of Photography], I was surprised to to see an actual Chronograph made by Étienne-Jules Marey.
Dr. E. J. Marey – Chronographic image of movement phases of flexible reed. 1884 (The man is probably Marey). From ‘Uit De Geschiedenis van De Fotografie’ p.133
I was aware of Eadweard Muybridge and his motion photography, but had never heard or seen anything by Marey, who’s work pre-dates Muybridge.
From Muybridge’s wikipedia entry:
“Recent scholarship has pointed to the influence of Étienne Jules de Marey on Muybridge’s later work. Muybridge visited Marey’s studio in France and saw Marey’s stop-motion studies before returning to the U.S. to further his own work in the same area.
From ‘The Atrocity Exhibition’ – Marey’s Chronograms
Dr. Nathan passed the illustration across his desk to Margaret Travis. ‘Marey’s Chronograms are multiple-exposure photographs in which the element of time is visible – the walking human figure, for example, is represented as a series of dune-like lumps.’
Dr Nathan accepted a cigarette from Catherine Austin, who had sauntered forward from the incubator at the rear of the office. Ignoring her quizzical eye, he continued, ‘Your husband’s brilliant feat was to reverse the process.
Using a series of photographs of the most commonplace objects – this office, let us say, a panorama of New York skyscrapers, the naked body of a woman, the face of a catatonic patient – he treated them a if they already were chronograms and extracted the element of time.’
Dr Nathan lit his cigarette with care. ‘The results were extraordinary. A very different world was revealed. The familiar surroundings of our lives, even our smallest gestures, were seen to have totally altered meanings. As for the reclining figure of a film star, or this hospital…’
J.G. Ballard – The Atrocity Exhibition p.6
From the notes, p16:
‘An Individual is a four-dimensional object of greatly elongated form; in ordinary language we say that he has considerable extension in time and insignificant extension in space.’ Eddington, Space, Time and Gravitation
BL1ND
Mumbai Wedding
Blue Tag Brown Tiles
Fluor Pink & Wood
Palm Shadow
I’m sure palm trees are just part of the furniture to half of the world, but to me they’re always exotic.
It’s the lure of ‘the other’.
J Dilla Woodblock
For the flipped original:
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