One of the reasons I got into the demoscene was that I wanted so badly to make a animated versions of Escher's works, particularly Metamorphosis I-III. This is seriously an amazing work; he does honor to the original painting and goes above and beyond. Simply amazing.
Did you ever get it done? There are some animated/interactive Escher pieces on http://wonderfl.net/tag/escher , but no Metamorphosis - it looks difficult to animate...
Unfortunately not. I did some experimentation early on and while I got some interesting results, I wasn't ok with releasing it unless it honored the original work. Now that I've spent a couple years honing my skills, though, it may be time to revisit it.
I think the market potential form something like this is huge, the only downside at this point is the horsepower/cost that it takes to run it. It may work fine on your phone or iPad, but I want this on my 60 inch flatscreen with x-box kinect like interaction.
This is the most beautiful use of art and technology I've ever seen. Potentially a whole new subclass of painting. Forget animating old images, I could imagine modern artists creating works of art only for this medium.
Does poetry itself not mean not being held back by any standard or pre-defined definition, and instead, seeks to challenge and/or convey an idea through sound, words, symbols, and images?
Reminds me of the Van Gogh from "Heretics of Dune" (written in 1984).
> The Ixians had been at their best in the preservation and restoration. An observer could touch a dark spot on the lower left corner of the frame. Immediately, you were engulfed in the true genius, not only of the artist, but of the Ixian who had restored and preserved the work. His name was there on the frame: Martin Buro. When touched by the human finger, the dot became a sense projector, a benign spin-off of the technology that had produced the Ixian Probe. Buro had restored not only the painting but the painter -- Van Gogh's feeling -- accompaniment to each brush stroke. All had been captured in the brush strokes, recorded there by human movements.
> Odrade had stood there engrossed through the whole performance so many times she felt she could recreate the painting independently.
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[ 4.3 ms ] story [ 72.6 ms ] threadWhen Dennis Ritchie died, I saw someone post the following:
main() { printf("hello, afterworld\n"); }
There are more here: http://hastac.org/blogs/earksiinni/2011/10/13/curious-collec...
Does poetry itself not mean not being held back by any standard or pre-defined definition, and instead, seeks to challenge and/or convey an idea through sound, words, symbols, and images?
I asked another. He said he was building a library, where one day his grandchildren might discover Hemmingway.
> The Ixians had been at their best in the preservation and restoration. An observer could touch a dark spot on the lower left corner of the frame. Immediately, you were engulfed in the true genius, not only of the artist, but of the Ixian who had restored and preserved the work. His name was there on the frame: Martin Buro. When touched by the human finger, the dot became a sense projector, a benign spin-off of the technology that had produced the Ixian Probe. Buro had restored not only the painting but the painter -- Van Gogh's feeling -- accompaniment to each brush stroke. All had been captured in the brush strokes, recorded there by human movements.
> Odrade had stood there engrossed through the whole performance so many times she felt she could recreate the painting independently.