Posts Tagged ‘animation’

New Work by Ted Warnell

Ted Warnell, as many of you know, is a Canadian net artist originally from Vancouver, long since living in Alberta, who has been producing net art as programmed visual poetry at warnell.com since the 90’s. Which is about how long we’ve been in correspondence with one another. Ted was very active on Webartery for some time, an email list in the 90’s that many of the writerly net artists were involved in. We’ve stayed in touch over the years, though we’ve never met in the same room. We have, however, met ‘face-to-face’ via video chat.

warnell2016He’s still creating interesting net art. In the nineties and oughts, his materials were largely bitmaps, HTML, CSS, and a little JavaScript. Most of his works were stills, or series thereof. Since about 2013, he’s been creating net works using the HTML5 canvas tag that consist entirely of JavaScript. The canvas tag lets us program animations and stills on HTML pages without needing any plugins such as Flash or Unity. Ted has never liked plugins, so the canvas tag works well for him for a variety of reasons. Ted has created a lot of very interesting canvas-based, programmed animations and stills at warnell.com/mona .

I’m always happy to get a note from Ted showing me new work he’s done. Since we both are using the canvas, we talk about the programming issues it involves and also the sorts of art we’re making. Below is an email Ted sent me recently after I asked him how he would describe the ‘look’ or ‘looks’ he’s been creating with his canvas work. If you have a good look at warnell.com/mona , you see that his work does indeed exhibit looks you will remember and identify as Warnellian.


hey jim,

further to earlier thoughts about your query re “looks” in my work (and assuming that you’re still interested by this subject), here is something that has been bubbling up over the past week or so

any look in my work comes mainly from the processes used in creation of the work – so, it’s not a deliberate or even a conscious thing, the look, but rather, it just is – mainly, but not entirely, of course – subject, too, is at least partly responsible for the way these things look

warnell2016-2have been thinking this past week that what is deliberate and conscious is my interest in the tension between and balance of order and chaos, by which i mean mathematics (especially geometry, visual math) and chance (random, unpredictable) – i’m exploring these things and that tension/balance in almost all of my works – you, too, explore and incorporate these things into many of your works including most strikingly in aleph null, and also in globebop and others

so here are some thoughts about order/chaos and balance/tension in no particular order:

works using these things function best when the balance is right – then the tension is strong – and then the work also is “right” and strong

it is not a requirement that both of these things are apparent (visible or immediately evident) in a work – there are some notable examples of works that seem to be all one or the other, though that may be more illusion than reality – works of jackson pollock seem to be all chaos but still balance with a behind-the-scenes intelligence, order – works by andrew wyeth on the other hand seem to be all about order and control, but look closely at the brushstrokes that make all of that detail and you’ll see that many of these are pure chance – brilliant stuff, really

warnell2016-3an artist whose work intrigues me much of late is quebecer claude tousignant – i’m sure you know of him – he is perhaps best known for his many “target” paintings of concentric rings – tousignant himself referred to these as “monochromatic transformers” and “gongs” – you can find lots of his works at google images

the reason tousignant is so interesting to me (again) at this time is because while i can see that his paintings “work”, i cannot for the life of me see where he is doing anything even remotely relating to order/chaos or the balance/tension of same – his works seem to me to be truly all order/order with no opposite i would consider necessary for balance and/or to make (required) tension – his works defy me and i’d love to understand how he’s doing it :)

warnell2016-4anyway, serious respect, more power, and many more years to the wonderful monsieur tousignant

Look Again – warnell.com/mona/look.htm

is a new (this week) autointeractive work created with claude tousignant and his target paintings in mind

in this work are three broad rings, perfectly ordered geometric circles, each in the same randomly selected single PbN primary color – the space between and surrounding these rings is filled with a randomly generated (60/sec), randomly spun alphanumeric text in black and white, and also gray thanks to xor compositing – alinear chaos – as the work progresses, the three rings are gradually overcome by those relentless spinning texts – the outermost ring is all but obliterated while the middle ring is chipped away bit by bit until only a very thin inner crust of the ring remains – the third innermost ring, tho, is entirely unaffected

as the work continues to evolve, ghostlike apparitions of the missing outer and middle ring become more and more pronounced… because… within the chaos, new rings in ever-sharper black and white are beginning to emerge – this has the effect of clearly defining (in gray and tinted gray) the shape of the original color rings – even as order is continually attacked and destroyed by chaos, chaos is simultaneously rebuilding the order – so nothing is actually gained or lost… the work is simply transformed – a functioning “monochromatic transformer”, as tousignant might see it

that’s the tension and balance i’m talking about – the look you were asking about likely has something to do with autointeraction, alinearity, and most likely by my attempt to render visible order/chaos and balance/tension in every work i do

your attempt in aleph null (it now seems to me) might be in the form of progressive linearity on an alinear path – and well done

ted

PS, “Look Again” is a rework of my earlier work, “Poem by Numbers 77” from march 2015 – warnell.com/mona/pbnum77.htm

which work is a progression of “Poem by Numbers 52” from april 2013 – warnell.com/mona/pbnum52.htm

which work was about learning canvas coding for circular motion

Poem by Numbers works usually (not always) are about coding research and development – moreso than concept development, which comes in later works like “Look Again”

other artists have “Untitled XX” works – i have “Poem by Numbers XX”