User:A Peresie/sandbox

Program #7
Program #7 was a part of a series known as The Electronic Visualization Center: A Television Research Satellite to the School of the Art Institute of Chicago, which were created using a Sandin Image Processor and a Bally Arcade System. Veeder and Morton used the Sandin Image Processor to add varying patterns to the videos, and overlay graphics created using the Bally Home Computer. Program #7 was televised on Chicago Public Television as a part of a series which ran work by independent video creators.

Videotape Presentations, Live Video, and Computer Graphics Performances, Workshops, and/or Any Useful Format of Collaboration
Veeder produced many works in collaboration with Chicago artist Phil Morton. Videotape Presentations, Live Video, and Computer Graphics Performances, Workshops, and/or Any Useful Format of Collaboration was a series of video programs inspired by their trips to the western mountains of the United States between 1976 and 1982. These videos were broadcast on

Original:

Between 1976 and 1982, Veeder traveled the western mountains of the United States with Phil Morton. On these road trips the two would shoot video of their surroundings using a portable video recorder. Some of these video recordings of the western mountain terrain were used to produce the televised video piece known as Program #7. Program #7 was produced as a part of a larger group of videos known as ''The Electronic Visualization Center: A Television Research Satellite to the School of the Art Institute of Chicago. Program #7'' was televised on Chicago Public Television as a part of a program which ran work by independent video creators. Program #7 was created using a Sandin Image Processor and a Bally Home Computer. Graphics generated using a Bally Home Computer would be overlaid overtop of the video recorded by Veeder and Morton using the Sandin Image Processor. The Sandin Image Processor would also be used to add varying patterns to the image.

The Paint Problem
The Paint Problem was an article written with Copper Giloth in 1985 for the magazine IEEE Computer Graphics and Applications. In it, Veeder and Golith analyze the ways in which computer art programs were emulating real world processes digitally rather than making use of the unique capabilities that computers had to offer. Veeder and Golith argue that the role of artists is to use new technology to accomplish things that aren't possible in other media.

did someone else write about its significance?

Original:

Veeder coauthored the article titled The Paint Problem with Copper Giloth in 1985. The article, meant for IEEE Computer Graphics and Applications, analyzed the ways in which computer art programs were emulating real world processes digitally rather than making use of the unique capabilities that computers had to offer. Veeder and Giloth argued that Computer graphics was not just a tool to make your existing processes faster but rather an entirely new set of tools with an entirely new set of capabilities that had yet to be taken advantage of.

Solo work
Over the span of her career, Jane Veeder has worked on many independent projects, several of which have been exhibited at the SIGGRAPH Art Show.

In 1982, Veeder created several works utilizing the capabilities of the Datamax UV-1 Zgrass Graphics Computer. She continued to use the Datamax UV-1 for several more projects in the years to come.

Veeder first exhibited her digitally synthesized work at the 1982 SIGGRAPH Art Show. At the 1982 conference, Veeder exhibited her works, Bubblespiral, Montana, Warpitpout, and Bustergrid.

Her video piece titled Montana piece would go on to become the first computer graphics video piece to be featured in the Museum of Modern Art's Video Collection.

Bubblespiral is a 2-Dimensional printed piece measuring 21.5 x 28 inches in size. Montana is an interactive piece incorporating computer synthesized graphics. The piece was displayed as a video and has a duration of 3:05 minutes. Warpitout is an interactive piece that incorporates realtime morphing of an image of the players face. The player could use the controls on the unit to distort the image of themselves in realtime. Bustergrid is another 2-Dimensional printed artwork created using computer graphics measuring 21.5 x 28 inches in size, the same dimensions as Bubblespiral

One year later in 1983, Veeder only produced one artwork that would be shown at that years SIGGRAPH Art Show, the piece, titled Floater, is a 6:12 minuter long real-time computer generated video piece. Again, two years later, at the 1985 SIGGRAPH Art Show Veeder only exhibited one work. The work exhibited that year, titled Vizgame and was a computer generated interactive artwork. The piece allowed the player to build a real-time generated animation on a 16-square grid, allowing the player to control the animation of each block.

In 2018, Veeder's piece, ???????--find which one was included in the Chicago New Media 1973-1992 exhibition, curated by jonCates.

Montana
Montana was Veeder's first video piece made using real-time computer graphics and video gathered from her trips to the western mountains, with text including "Good Luck Electronically Visualizing Your Futures!", about digital graphical depictions. During her trips west with Phil Morton, she gathered video with a Sony Portapak, and produced video with Most recently, it was included in the exhibition titled Living Dead at the Walter Philips Gallery in Banff, Alberta.

is a video made using real-time computer graphics that premiered at the American Film Institute's first National Video Festival in Los Angeles.

Warpitout
Warpitout was a realtime interactive video installation which processed video of the viewer's face and was inspired by the image processor events in Chicago.

https://muse.jhu.edu/chapter/2112205 get this book - saw it at the jonCates exhibition

https://blackflash.ca/2019/11/12/cast-your-glance-back-at-me/ GOOD critical writing about an exhibition including Montana

https://www.atariarchives.org/cap/showpage.php?page=color11

http://people.umass.edu/sig82art/Resources/artistsDb.xml?CacheBuster=0.48376251850277185

http://magazine.art21.org/2012/01/17/confessions-of-a-game-art-addict/ *******good

https://rhizome.org/editorial/2009/sep/22/floater-final-sequence-1983-jane-veeder/ ****

https://muse.jhu.edu/chapter/2112204 --secondary writing on the paint problem

http://www.vasulka.org/archive/4-30b/Seno(9015).pdf ****very good, need to find the original source

https://www.banffcentre.ca/living-dead

https://search.proquest.com/docview/2307785596/14ECCF010E5B4DA2PQ/2?accountid=26320 - Cybernetic Child Psychology: A Genealogy of the User

proquests publication

FROM https://search.proquest.com/docview/303704559/14ECCF010E5B4DA2PQ/3?accountid=26320 REWRITE

In 1985 Veeder was commissioned by the Pacific Northwest College of Art in Portland, Oregon to set up a computer graphics laboratory. After completing that project she joined Wavefront Technology in Santa Barbara California in 1986, where she is a prototype interface designer. --- "Veeder has contributed to the creation of many computer graphics labs, including at the Pacific Northwest College of Art and"***** --> another one at sfsu from the pamphlet nolan found?

http://kx2bf3kp7c.search.serialssolutions.com/directLink?&atitle=Computer+art+as+conceptual+art&author=Tamblyn%2C+Christine&issn=&title=Art+Journal&volume=49&issue=3&date=1990-09-01&spage=253&id=doi:&sid=ProQ_ss&genre=article

interactivity warpitout

biographical: veeder used microcomputers, CB radio, and public TV --cybernetic child psychology