{"id":160318,"date":"2024-10-01T14:57:32","date_gmt":"2024-10-01T13:57:32","guid":{"rendered":"https:\/\/centmagazine.co.uk\/?p=160318"},"modified":"2024-10-03T11:03:58","modified_gmt":"2024-10-03T10:03:58","slug":"revolutionary-man-melds-with-machine","status":"publish","type":"post","link":"https:\/\/staging.centmagazine.co.uk\/?p=160318","title":{"rendered":"Revolutionary Man Melds with Machine"},"content":{"rendered":"\n

Digital art seems as though it is the newest latest way to create, but that’s not actually true. From as early as the 1960s works created in this medium began to exist. Pioneering<\/a> artist Malcolm Le Grice has collaborated with a team of scientists to create the worldwide launch of a special time capsule, Find out more in Revolutionary Man Melds with Machine <\/em><\/p>\n\n\n\n

As a generation, we tend to think we do things first, and of course, this is not the case. We wrongly assume that because computers in everyone’s hands are relatively new, the art created with them is new too. Not so. In the\u00a0early 1960s, John Whitney developed the first computer-generated art using mathematical operations. In 1963, Ivan Sutherland invented the first user-interactive computer graphics interface known as Sketchpad. Even such luminaries as Salvador Dal\u00ed\u00a0created two big canvases of\u00a0Gala Contemplating the Mediterranean Sea which at a distance of 20 meters is transformed into the portrait of Abraham Lincoln as a Homage to the artist Rothko, utilising this technology.<\/p>\n\n\n\n

Maybe part of the reasoning is that we are not exposed to these works. Where are they? Did they even survive? We could certainly be forgiven for not knowing, or understanding the complexities around the life and longevity of digital art.\u00a0 <\/p>\n\n\n\n

Until this very point, it was impossible for an artist in this discipline<\/a> to successfully store their work, without data corruption for anything more than 30 years.<\/p>\n\n\n

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Even a Cyclops 9 Malcolm Le Grice<\/p>\n\n\n\n

Step forward, Malcolm Le Grice, a celebrated, and pioneering digital artist who has collaborated with a team of scientists to create the worldwide launch of a special time capsule. An invention they hope will solve issues relating to the preservation of art. Went out via worldwide launch at the new contemporary Gallery<\/a>.<\/p>\n\n\n\n

\u201cBefore I started making films, I was interested in DNA. I did a lot of paintings that were structured like DNA. I recently worked on a research project on DNA with Eurecom [a French graduate school and research centre in digital sciences]. The objective was to invent a new form of information storage.<\/strong><\/em><\/p>\n\n\n\n

“The technology involved in the use of synthetic DNA is a fascinating method for long-term preservation. But my interest is now to go further and investigate the possibilities that DNA coding might have in the generation of new artworks. I want to understand the principles within DNA, which is that it keeps a blueprint pattern for making new versions of itself. It’s about evolution and the set of rules within it. It\u2019s fantastic that all this information, this system for change and evolution, is built into a set of five or six chromosomes<\/strong>“.<\/em><\/p>\n\n\n\n

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From the very start, back in the swinging 1960s, Malcolm Le Grice had an innate, and abiding interest in the mathematics of perspective, the contradictions of multi-viewpoint and the representation of time that extends a thread through art history, which links Cubism, Futurism and Serial Photography with the works of contemporary artists such as Martin Creed<\/a>, Steve McQueen, Matthew Barney and Douglas Gordon.<\/p>\n\n\n\n

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