Advertisement

The Illusion and Simulation of Complex Motion

  • Fré Ilgen
Chapter
Part of the Springer Series on Cultural Computing book series (SSCC)

Abstract

This article presents an artist’s insights into creating paintings and sculptures, suspended, on the wall and free standing and, sometimes, his experimentation with a computer. Discovering and exploring the analogies between art, science and philosophy have proved to be rewarding and have become as important to him as creating works of art.

References

  1. Harris C (ed) (1999) Art and innovation: the xerox PARC artist-in-residence program. MIT Press, Cambridge, MAGoogle Scholar
  2. Ilgen F (1996) Virtual in reality—real in virtuality. In: Proceedings 2nd international symposium creativity and cognition, Loughborough, England, pp 278–279Google Scholar
  3. Ilgen F (2004) Art? no thing! analogies between art science and philosophy. PRO Foundation and Artists Bookworks, LondonGoogle Scholar
  4. Ilgen F (2014) Artist? the hypothesis of bodiness. Wasmuth Verlag, GermanyGoogle Scholar
  5. Ilgen F (1993) Design as connection between thinking and acting. In: Proceedings 2nd international symposium creativity and cognition. England, Loughborough, pp 211–214Google Scholar
  6. Ilgen F (1997) CRAVE—Creative artistic virtual environment—Bedeutung der direkten Manipulation, on CD-Rom Texte zur virtuellen Ästhetik in Kunst und Kultur herausgegeben von Kai-Uwe Hemken. Arthistorical Institute of the Ruhr University Bochum and the VDG-Verlag und Datenbank für Geisteswissenschaften, GermanyGoogle Scholar
  7. Tagore S (2015) Frontiers Reimagined—Tagore Foundation International, ISBN 978 88 317 2193, Palazzo Grimni, Venice, Italy, supported by the Ministero dei beni culturali attivà culturali e del turismoGoogle Scholar

Copyright information

© Springer-Verlag London Ltd., part of Springer Nature 2018

Authors and Affiliations

  • Fré Ilgen
    • 1
  1. 1.SydneyAustralia

Personalised recommendations