467 research outputs found
Oral History Interview with Ernest Alan Edmonds
No full textThis interview is part of a series on Human-Computer Interaction (HCI) conducted by the Charles Babbage Institute for ACM SIGCHI (Association for Computing Machinery Special Interest Group on Computer-Human Interaction). In this interview, Professor Edmonds reflects on early interests in drawing and art, his development of interactive art and his research on computer-human interaction support for creativity. He describes himself as an “artist by inclination, a logician by training, and a computer scientist by accident.” The bulk of the interview explores these areas, his pioneering in work in computer based/algorithmic (from his influential Nineteen in the late 1960s forward) and interactive art (DataPack, in 1970 with Stroud Cornock, forward), as well as important contributions to computer science. This includes relating of influences of university mentors, the Constructivist school, and collaborations and friendships within the Systems Group of UK artists. He discusses his computer science contributions—at Leicester Polytechnic, Loughborough University, and University of Technology in Sydney—including his “adaptive approach” in 1970 software development challenging established “waterfall” techniques and anticipating and helping provide foundation to what later became termed as “agile.” He also relates his contributions to fostering intellectual community with computer scientists and artists, including and especially with his and Linda Candy’s impactful “Creativity and Cognition” an annual event launched 1993, becoming a SIGCHI Conference in 1997, and thriving to this day. In his career, thinking a step beyond current technology, and drawing on his concepts of “attractors, sustainers, and relators,” he has creatively advanced interaction between human and machine, and human interaction through machines.Edmonds, Ernest Alan. (2022). Oral History Interview with Ernest Alan Edmonds. Retrieved from the University Digital Conservancy, https://hdl.handle.net/11299/225844
Folder 03: "Tahiti Island of Dreams. A story of disaster and death for challenging a curse."
No full textIncludes author credit "By Ernest Edmonds"Chapter
Ernest Edmonds: Light Logic
No full textDocumenting all works, in full colour, from Ernest Edmonds' exhibition Light Logic, this catalogue includes two critical texts.The first, a contextual overview entitled Cause and Effect, by Laura Sillars, reflects upon the impact of global developments, which culminated in the incredible events of 1968, and the effect of ensuing technological advancements on Edmonds' practice.Francesca Franco has researched Edmonds' influences as an artist from his interest in concrete poetry, film and music to mathematical logic and computing. Her essay documents the artist's practice from early algorithmically produced paintings to his research into human interaction.Published on the occasion of the exhibition Light Logic, at Site Gallery, Sheffield, 17 November 2012 – 2 February 2013
Systems theory, systems art and the computer: Ernest Edmonds interviewed by Francesca Franco
No full textThe file attached to this record is the author's final peer reviewed version. The Publisher's final version can be found by following the DOI link.Ernest Edmonds has pioneered the field of computational art and contributed to the broader field of contemporary art from the late 1960s to the present. Francesca Franco is a Venetian-born art historian based in the UK whose research focuses on the history of art and technology. The central theme of her research is the history of art and technology and the pioneers of computer art. This interview with Edmonds, conducted by Franco in 2016, explores how Systems art, Systems Theory, and his personal relationships with artists such as Malcolm Hughes, Kenneth Martin and Edward Ihnatowicz influenced his art practic
Generative Systems Art: the Work of Ernest Edmonds
No full textIn this book, the author explores the history of pioneering computer art and its contribution to art history by way of examining Ernest Edmonds’ art from the late 1960s to the present day. Edmonds’ inventions of new concepts, tools and forms of art, along with his close involvement with the communities of computer artists, Systems artists and computer technologists, provide the context for discussion of the origins and implications of the relationship between art and technology. Drawing on interviews with Edmonds and primary research in archives of his work, the book offers a new contribution to the history of the development of digital art and places Edmonds’ work in the context of contemporary art history
Words on the Creativity and Cognition Studios contribution
No full textThis is a statement from the catalogue of a recent exhibition in which UTS's Creativity and Cognition Studios was represented by two of its members. It briefly encapsulates the concept and philosophy of the group
Interactive experience in a public context
No full textIn this demonstration, we show an interactive artwork that responds to sound and describe a field study evaluating audience engagement within a public context. Audience in the public setting largely recognized the interactivity of the media immediately, engaged very briefly with the work and were highly self conscious about their behavior and voice during their engagementZafer Bilda, Ernest Edmonds and Deborah Turnbul
Ernest F. Southern, oral history interview
No full textMildred Allen, David Parker, and Bill Edmonds met Ernest F. Southern at his office at the Myrtle Beach Chamber of Commerce in Myrtle Beach at 11:00 A.M. Mr. Southern has been on the Foundation/Commission since the early days, replacing C. D. Brearley, Sr. as a member of the original Coastal Educational Foundation, serving as chairman in 1962, and as chairman of the Horry County Higher Education Commission in 1970. - Mildred Holmes Allen Princehttps://digitalcommons.coastal.edu/founders/1015/thumbnail.jp
art: notes and works
No full textErnest Edmonds has an unusual track record as an artist. Having been deterred from
studying art by teachers and artist friends, he decided to study mathematics and later
logic because he found them easy, and he thought, not unreasonably, that this would
allow more time for painting. It turned out that the logic was itself useful in his art and led
to an interest in computing. He first used computers in his art practice in 1968 and has
been making art with computer code since then. But it is the influence of the Concrete
and Constructivist art traditions, with strong affinities to colour field work, that underpin
his work. From structure defined in code, comes the visual power and the time-based
interactive elements which give his work its unmistakeable signature. Ernest is well known
as a major contributor to the development of computational art. His work represents an
important landmark in the field of generative and interactive art which was recognised
by the 2017 ACM SIGGRAPH Distinguished Artist Award for Lifetime Achievement in
Digital Art and the 2017 ACM SIGCHI Lifetime Achievement Award for the Practice
of Computer Human Interaction, demonstrating his breadth from art to computing
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