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Chromatic algorithms : synthetic color, computer art, and aesthetics after code

Author: Carolyn L Kane
Publisher: Chicago : The University of Chicago Press, [2014]
Edition/Format:   Print book : EnglishView all editions and formats
Summary:
« Chromatic Algorithms reveals the fascinating history behind digital color, tracing it from the work of a few brilliant computer scientists and experimentally minded artists in the late 1960s and early '70s through its appearance in commercial software in the early 1990s. Mixing philosophy of technology, aesthetics, and media analysis, Carolyn L. Kane shows how revolutionary the earliest computer-generated colors  Read more...
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Document Type: Book
All Authors / Contributors: Carolyn L Kane
ISBN: 9780226002736 022600273X
OCLC Number: 910604001
Notes: Comprend un index.
Description: 343 pages : illustrations principalement en couleur ; 27 cm
Contents: How color became code --
Chromatic visions (400 B.C.-1969) --
Colors sacred and synthetic --
Classical and modern color: Plato through Goethe --
Industrial color: synthetics through day-glo psychedelics --
Synthetic color in video synthesis --
Disciplining color: encounters with number and code (1965-1984) --
Informatic color and aesthetic transformations in early computer art --
Collaborative computer art and experimental color systems --
From chromakey to the alpha channel --
"Transparent" screens for opaque ontology (1984-2007) --
Digital infrared as algorithmic lifeworld --
The photoshop cinema --
Postscript: a new dark age.
Responsibility: Carolyn L. Kane.
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Abstract:

« Chromatic Algorithms reveals the fascinating history behind digital color, tracing it from the work of a few brilliant computer scientists and experimentally minded artists in the late 1960s and early '70s through its appearance in commercial software in the early 1990s. Mixing philosophy of technology, aesthetics, and media analysis, Carolyn L. Kane shows how revolutionary the earliest computer-generated colors were—built with massive postwar number-crunching machines, these first examples of "computer art" were so fantastic that artists and computer scientists alike regarded them as psychedelic, even revolutionary, harbingers of a better future for humans and machines alike. But, Kane argues, the explosive growth of personal computing and its accompanying need for off-the-shelf software led to increased standardization and the gradual closing of the experimental field in which computer artists had thrived. »--

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