I thought people might be interesting in this really well done animated film called Dripped by animator Leo Verrier. It wasn't generated with Studio Artist, but it's pretty funny and covers a nice slice of art history as it tells it's story line.
The video itself is below in the first post in this thread.
Here's an article on the film. Which also has some other videos that show Jackson Pollock at work. And a really great quote from film maker Stan Brakhage.
Filmmaker Stan Brakhage liked to tell the following illustrative story, which came out of hanging out with various artists and composers in Pollock’s studio in the late 40s:
They were, like, commenting, and they used the words “chance operations” — which was no bother to me because I was hearing it regularly from John Cage — and the power and the wonder of it and so forth. This really angered Pollock very deeply and he said, “Don’t give me any of your ‘chance operations.’” He said, “You see that doorknob?” and there was a doorknob about fifty feet from where he was sitting that was, in fact, the door that everyone was going to have to exit. Drunk as he was, he just with one swirl of his brush picked up a glob of paint, hurled it, and hit that doorknob smack-on with very little paint over the edges. And then he said, “And that’s the way out.”
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Dripped from ChezEddy on Vimeo.
A visitor once asked Pollock: "How come you no longer paint from Nature?"
He replied: "Fuck man, I'm Nature!"
Also: "There's another way to live. accept indeterminacy as a principle, and you see your life in a new light, as a series of seemingly unrelated jewel-like stories ...within a dazzling setting of change and transformation. recognize that you don't know where you stand, and you will begin to watch where you put your feet. that's when the path appears." - John Cage.
More about Pollock and his peers here
JOhn
This is a great animation... very well done and drawn. Thanks. Its nice to see such creativity as the engine for purpose.
It would be fun to see someone try to put together something like this animation, but using Studio Artist to build up the different artistic styles this alternative film would explore and show off. So you'd work off of DV video source footage and then process it using different Studio Artist paint action sequences to create the simulations of the different artistic styles you wanted to show off to build both the story line of the movie as well as the art styles themselves.
Jean, Indeterminacy is the prerequisite and always has been the criterion for all creative art... if you are going to a place that you have already been to it is repetition not creativity. Learning to live with the insecurity and unknowingness of the end point allows one to discover uncharted territories and transform them to art. That is one quality of Studio Artist I value far beyond the many features and opportunities it places before me.
Paul,
There is also great potential in repetition: this, then this "again" makes for 2 different "this" IF that "again" quality is made manifest (this is very much at the heart of the music of Steve Reich, John Adams, Philip Glass and others, but it is not restricted to contemporary composers, there are instances of multiple repetitions in the works of composers who worked centuries ago). The "art" in Art is not "just" shaping an image (or music, text, dance, whatever), it is shaping the gaze of the viewer, its journey in a totally fabricated world that is becoming real, or at least credible, because of the quality of that journey. Just as there are many pieces done by merely repeating the same tricks (thus not making manifest that "again" quality), there are many pieces done with paying lip-service to indeterminacy. But because this "process" is used as a mere "trick" in order to avoid the pain of experiencing fully that indeterminacy, they are as trite and irrelevant as the merely repetitive pieces, lacking the sense/presence of "reality" or "credibility" that is the mark of true Art (which is why it is so rare, and why wall-paper and visual karaoke abound). The works of great artists points to, stems from, what they were/are capable of experiencing, a testimony of where they have gone, of what they are going through, and how, making us sense that we too could do it, if only we had the nerve.
What nerve?
The nerve to acknowledge that one does not know where one stands, what one's "reality" is, who one is.
As T.S. Eliot said: "A condition of utter simplicity, costing no less than everything."