> >@= %bjbjVV 4,<<+0$[>nnnnnnn3dn0+n;p;n;n(nn+; : ColoringbyNumbers
Steve Smith Preliminary Document organizing notes 5/24/2011
(Insert visuals and explanatory notes)
To assert that computer assisted art is not art is as absurd as saying that computer assisted music is not music. Steve Smith 1982
Treatise on color mixing and grid layout theories.
Utilizing simple mathematics, I can program a computer or any media to display sequential patterns.
This is a methodology for patterning regular geometric structures with counting.
Colors are mapped to numbers which create linear pattern sequences. Counting is a numeric fractal which iterates and scales to infinity.
These sequences can be arranged on grids or in temporal arrangements to create audio and video.
Patterns are created through repetition and scaling as counting evolves and adds to itself.
Colors, patterns, images, audio or video bits can represent the digits of the numbers or can be mixed to represent complete integers.
If red represents 2 and blue represents 1, 21 could be representedby red following blue or by mixing red and blue in even quantities, yielding purple.
Patterns can be controlled by starting to count at a certain number or by arranging the linear stream of elements into unique structures.
You can count (colorize) in various number bases depending on how many various elements you would like to work with. Base 10 uses 10 colors, Base 2 uses 2.
Base 5 has 5 colors (elements) representing 0 1 2 3 4.
Though using a computer is more accurate, pleasing patterns can be created with colored pencils on graph paper or with grid-based media such as tile, weaving, hook rugs andneedlepoint.
CBN works as a controlled way to seemingly randomize with filters you define.
Computer Graphics
Numbers are the basis of mathematics and counting. They are universal, being used buy all men in their daily lives. By visualizing number systems, I turn the abstract idea of counting into a picture. I materialize a pre-ordained arrangement. Counting is a fractal principle with repetition, scaling and iteration being its basic structure. Fractals themselves are system for creating designs, patterns and forms.
Utilizing simple mathematics, I can program a pattern into traditional media. The color choices act as a seed to the overall design and, pre-ordained, dictate the final outcome. Through ideas meaning can be added to abstract art. The beauty of the structure of nature can be analyzed, appreciated, and re-approximated.
Objectifying art into systems (systemic art) can minimize spontaneity and expression. A certain diligence is required to execute drawings of systemic structures. One factor for me is keeping count. These factors open the door for the use of a computer to execute the final drawing. Computers are precise, consistent, versatile, accurate and tireless. They cannot be ignored as valid tools for visual artists. With their use comes a certain loss of individuality and a denial of handcraftsmanship, but with the computer graphics has the potential to map realities that go beyond human capability (by hand)
Computers allow us to re - create the physical world.
My work with pen plotters using 3D grids in perspective (Splash series) is an illustration of an impossible task for the human hand to execute. It would truly be an impossible task for even the best draftsman to execute these drawings. The computer can execute this work with a speed and perfection which is alarming.
Perfection becomes the norm. One program can be used to create endless variations on one idea or arrangement, with minimal time and effort. Just seed the chart and let it go (see screensaver) The work of art is de-mystified at the same time it is revealed as divinely inspired. Human skill is evident not in the skill of execution or expression, but in the structure, concept and color choices. Technical and scientific(Computers/mathematics/geometry/trigonometry)tools used to create art.
Computers continue to expand the possibilities of art and will continue to indefinitely.
The universe is built from vibration. Sound, light and geometry. Sound is temporal. Light and geometry are elements of art. It appears there are certain universal principles regarding form. Spiraling invisible energy, Platonic solids, octaves of color and sound, mathematics and numerics.
Geometry has a power to gather energy in ways we can explore. Many have been explored through the ages via architecture the pyramids, the renaissance cathedrals, geodesic and domed structures. Some of these ways are inextricably tied to religion. Some are tied to sacred art the mandala, the cross, archetypes. Many of these powerful elements are being discovered through science on a way to understanding the power and structure of the universe.
I have discovered that counting (the basis of mathematics) is a fractal principal. It has repetition, self-similarity, iteration, and infinity. It can be expressed through color and other variables as well. Simply assign a variable to a number and count to get periodic, infinitely variable structures. When imposed on platonic and sacred geometry, these structures can be explored. By assigning color to number (see CBN section below) I have been exploring and searching for new dimensions.
I also explore art as a synthesis of all possible expression methods. I continue to hone my skill with traditional media and subject matter figure and landscape along with geometry. I also have many explorations into the realms of 3D computer graphics, animation, and time-based media.
Polygons.
CBN spirals usually represent the inception of an infinite field of patterned colors (radiating outward) - limited by the edge of the grid
These grids unfold towards infinity. Continuing the patterns beyond the viewing surface, the viewer can mentally continue the pattern (with some effort). This implied continuation infers and compels the infinite expansion possible.
Through objects we are in touch with the finite. Infinity is implied as the dualistic opposite. The earth and its wonders are finite, but we are constantly teased with infinity. The number of tree in a forest all forests - The number of grains of sand at a beach all beaches The number of rocks all rocks on earth all in the universe. There are infinite possibilities that exist.
These grids are the birth of larger conceptual grids that seek an unfolding infinity. CBN allows the co-creation of divine patterns. We can explore the preconceived by birthing our own arrangements and color choices.
CBN for science
Regularized way of mixing colors. Can be used to chart subtle variations in color mixing, including all possibilities to be explored. Out to infinity any subtle layer can be analyzed by zooming in on that numeric section of the counting pattern. Simulates randomness with user controls available at many levels. Can be charted and repeated unlike randomness.
Vibration relationships and scales of colors can be explored with subtle filters.
CBN fractalizes color mixes mathematics and geometry (with art)
It is a way of creating fractal color mixtures.
Currently exploring octaves and harmonic structures
Sacred Geometry
Digits = Colors = Chakras = Root through 7 levels
CBN can be used for meditation
Ie. the vibrational relationships and scales of colors
Mixture of science, art and religion
Origins yantra - op art (Vassarelly) conceptual art (Sol Lewitt) - psychedelic art (dayglo)
V%%hKh|2h.V} 6 t
0Nt
eb4r\gd.<$ !!!"N####$4$S$$$%gd.21h:pK/ =!"#$%j666666666vvvvvvvvv666666>6666666666666666666666666666666666666666666666666hH6666666666666666666666666666666666666666666666666666666666666666662 0@P`p2( 0@P`p 0@P`p 0@P`p 0@P`p 0@P`p 0@P`p8XV~ OJPJQJ_HmH nH sH tH H`HKNormal d[$CJ_HaJmH sH tH DA D
Default Paragraph FontRiR0Table Normal4
l4a(k (
0No ListPK![Content_Types].xmlj0Eжr(Iw},-j4 wP-t#bΙ{UTU^hd}㨫)*1P' ^W0)T9<l#$yi};~@(Hu*Dנz/0ǰ$X3aZ,D0j~3߶b~i>3\`?/[G\!-Rk.sԻ..a濭?PK!֧6_rels/.relsj0}Q%v/C/}(h"O
= C?hv=Ʌ%[xp{۵_Pѣ<1H0ORBdJE4b$q_6LR7`0̞O,En7Lib/SeеPK!kytheme/theme/themeManager.xmlM
@}w7c(EbˮCAǠҟ7՛K
Y,
e.|,H,lxɴIsQ}#Ր ֵ+!,^$j=GW)E+&
8PK!Ptheme/theme/theme1.xmlYOo6w toc'vuر-MniP@I}úama[إ4:lЯGRX^6؊>$!)O^rC$y@/yH*)UDb`}"qۋJחX^)I`nEp)liV[]1M<OP6r=zgbIguSebORD۫qu gZo~ٺlAplxpT0+[}`jzAV2Fi@qv֬5\|ʜ̭NleXdsjcs7f
W+Ն7`gȘJj|h(KD-
dXiJ؇(x$(:;˹!I_TS1?E??ZBΪmU/?~xY'y5g&/ɋ>GMGeD3Vq%'#q$8K)fw9:ĵ
x}rxwr:\TZaG*y8IjbRc|XŻǿI
u3KGnD1NIBs
RuK>V.EL+M2#'fi~Vvl{u8zH
*:(W☕
~JTe\O*tHGHY}KNP*ݾ˦TѼ9/#A7qZ$*c?qUnwN%Oi4=3ڗP
1Pm\\9Mؓ2aD];Yt\[x]}Wr|]g-
eW
)6-rCSj
id DЇAΜIqbJ#x꺃6k#ASh&ʌt(Q%p%m&]caSl=X\P1Mh9MVdDAaVB[݈fJíP|8քAV^f
Hn-"d>znǊ ة>b&2vKyϼD:,AGm\nziÙ.uχYC6OMf3or$5NHT[XF64T,ќM0E)`#5XY`פ;%1U٥m;R>QDDcpU'&LE/pm%]8firS4d7y\`JnίIR3U~7+#mqBiDi*L69mY&iHE=(K&N!V.KeLDĕ{D vEꦚdeNƟe(MN9ߜR6&3(a/DUz<{ˊYȳV)9Z[4^n5!J?Q3eBoCMm<.vpIYfZY_p[=al-Y}Nc͙ŋ4vfavl'SA8|*u{-ߟ0%M07%<ҍPK!
ѐ'theme/theme/_rels/themeManager.xml.relsM
0wooӺ&݈Э5
6?$Q
,.aic21h:qm@RN;d`o7gK(M&$R(.1r'JЊT8V"AȻHu}|$b{P8g/]QAsم(#L[PK-![Content_Types].xmlPK-!֧6+_rels/.relsPK-!kytheme/theme/themeManager.xmlPK-!Ptheme/theme/theme1.xmlPK-!
ѐ' theme/theme/_rels/themeManager.xml.relsPK]
,%%8@0(
B
S ?LUR]SU[f
525s|SVWZ333333333333V|tttt.|2h{K@UUUUh@UnknownG*Ax Times New Roman5Symbol3.*Cx Arial7.@ CalibriA BCambria Math"qhFFV4V4"203HX $P.2!xxSteveSteveOh+'0X
,8@HPSteveNormal.dotmSteve2Microsoft Office Word@Ik@ 3@3V՜.+,0hp|
4Title
!"#$%&'()*+,./012346789:;<?Root Entry F3AData
1Table;WordDocument4,SummaryInformation(-DocumentSummaryInformation85CompObjy
F'Microsoft Office Word 97-2003 Document
MSWordDocWord.Document.89q