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Video Paintings are a form of ambient video art presented via projectors, LCD or other flat panel display and wall-mounted in the same manner as traditional paintings. Content in this emergent form is designed to work at all times as either a highly aware foreground experience, or as passive background pieces of art. There is no sound accompaniment, it is only video. The concept of video paintings borrows from Brian Eno’s idea of ambient music in works ust be able to accommodate many levels of listening attention without enforcing one in particular; it must be as ignorable as it is interesting.”
Like traditional paintings, video paintings hang on the wall to be viewed or passed over - depending on individual viewer preference in the moment.
Description
Flatscreen technologies such as plasma, LCD, DLP and the up and coming OLED displays, are on the cusp of exploding in terms of marketplace penetration. Currently, the market offers both existing hybrid (video projection boxes) and true flatscreen technologies, and video art projections using cutting-edge projection technology. Even as these devices are being steadily introduced to our domestic and creative cultural spheres, more revolutionary technologies are being developed and implemented. Bill Buxton (University of Toronto, former chief scientist for Alias Wave Front and Silicon Graphics) maintains that gel, thin film, and painted surface video technologies are the inevitable next step in this development. Massively large scale moving images, beyond anything we have experienced, will be part of our everyday lives. As a result our domestic (and public) visual spaces will be profoundly transformed.
There are several artists and designers who are producing video paintings and ambient art that is intended to repurpose the blank space of an idle flatscreen. In addition to this there is an ever increasing number of companies specialising in video paintings to varying degrees. Companies such as Plasma Window, Vat19, Digital Hotcakes have all contributed to this growing phenomenon often providing the archetypal classical ambient video paintings. These companies and increasingly other artists and companies are expanding the availability of this genre. Ambient Digital Art [(http://www.ambientdigital.co.uk)] have evolved the concept to more specialised markets including bespoke personalised service additionally with expansion into the realm of generative art.
TransLumen Technologies [(http://www.translumen.net)] was founded in 2000 and applied for patents on imperceptibly different images or Subthreshold Extreme Gradual Change (STEGC) also called Fluid Stills Art Illusions. These patents were subsequently awarded and additional patents filed. TransLumen creates and provides ambient video DVD, HD and custom installations. They specialize in ultra-slow-motion technology and video painting.
Jim Bizzocchi (http://www.dadaprocessing.com), an artist and Assistant Professor at Simon Fraser University’s School of Interactive Arts and Technology, describes the new form: “Ambient video will emerge as a supremely pictorial form - relying on visual impact and the subtle manipulation of image, layer, flow, and transition. It sits in the visual background of our lives - always changing, but never too quickly. It does not conquer, it seduces. It rewards attention, but never commands it. Rather, its aim is to support whatever level of attention the viewer cares to bestow in the moment: a passing glance, a more intentional look, or a longer and deeper immersion within the dynamically changing experience of an ambient video world.” Bizzochi must be credited with advancing the academic study of this phenomenon from his earliest papers on streaming video and other academic papers on video paintings.
NomIg. (http://www.nomig.net) were among the first to create video paintings with their 2001 piece d Infinitum. Working as audiovisual artists, the NomIg. duo questioned what would happen if the concepts of Eno’s ambient works were applied to the visual domain. As a result their works place paramount importance on fluidity of movement; an absence of direct cuts/edits; and the removal of a linear time experience for the viewer. Their video paintings are centered on near-imperceptible movement where the works cause the viewer to question whether there is any movement at all. Upon a passing glance the work appears to be still - it is only after a returning glance or concentrated awareness that the motion of the piece reveals itself. Their work takes a fleeting second and expands it into a timeless contemplation of the moment. To achieve their extreme slow motion NomIg. have heavily researched and developed editing techniques which layer and blend frames while not succumbing to the artifacts of the standard digital slow motion process (jerky movement, blurry content). The actual duration of their paintings often exceeds 3 hours and are…(and so on)
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