The picture to the left, originally made by Josef Albers is a great example of how color is deceiving. We need to train our eyes to understand what is happening. It is color interacting. The picture looks like four different colored squares with a transparent folded square on top of them. The transparency is actually just different blocks of color that are just slightly different then their surroundings, placed on top of the squares. Ultimately you have to remember that color is absolute and that it is always relative to its sorroundings.
Unless the reader is studious and very serious about trying to unearth the information contained in this book, he or she is much better served by studing Albers or others. Too bad there is no editing, no index, and no glossary.
“Since 1995, Doctor Hugo became one of the pioneers in Net.art. He participated in 1988 at the ‘First International Symposium on Electronic Art’ (FISEA) in Utrecht. He took part in various Net.art projects, including the ALT-X-site ‘Being in Cyberspace’ and ‘Revelation’ ISEA 2000, Paris. In the series ‘Fuzzy Dreamz’ (1998) he transforms his new media experiences into painting and vice versa. His works have been presented in major international exhibitions ranging from Antwerp, Brussels, Basel, Amsterdam, Paris, Barcelona and Chicago to the Biennale of Venice.”
His name popped up in Psyber-L discussion so I made this link… a “blog annotation” of the discussion. This is the sort of thing I imagine Esther Dyson is talking about happening in f2f conferences with wired people… doing it here makes a bit more sense for now.
Saturday, 09 October 2021
Repaired this post. and will add a chunck from the link in case if goes.
Hugo Heyrman, known by his artist name Dr. Hugo Heyrman, is a leading Belgian painter, filmmaker, internetpioneer, synesthesia- and new media researcher. Born in Antwerpen, where he lives and works. From his earliest work, Dr. Hugo Heyrman developed a transformative vision, questioning the nature of perception, memory and images — “Most of my work has to do with contemporary fragility. The works are ‘ways of seeing’, forms of visual thinking, they make the virtual and mental space of an image real”. His art practice includes painting, drawing, sculpture, photography, video, film and digital media. In his online art project (((motions of the mind))) he continues his research, theory and experiments on the telematic future of art, the senses and synesthesia.
Originally, Dr. Hugo Heyrman opted for a musical education, but transferred to the visual arts. He graduated from the Royal Academy and became a laureate of the National Higher Institute for Fine Arts (HISK) in Antwerp. Heyrman was later a professor at both institutions. In addition, he studied nuclear physics during one year at the State Higher Institute for Nuclear Energy in Mol. He received a doctoral degree, Ph.D. in art sciences, magna cum laude, from the Universidad de La Laguna, Spain, with a thesis on ‘Art & Computers: an exploratory investigation on the digital transformation of art’. In 1995 he coined the terms ‘Tele-synaesthesia’ and ‘Post-ego’. Since 1993 he is a working member of the ‘Royal Flemish Academy of Belgium for Science and the Arts’, Brussels. Founder of the ‘Art & Synesthesia’online portal (1995).
During the sixties, Dr. Hugo Heyrman profiled himself as an avant-garde artist with Happenings, Pop art and film experiments. He published together with Panamarenko the magazine ‘Happening News & Milky Ways’ (6 issues). Founder of Artworker Foundation. He publishes the ‘Artworker Star’ (3 issues). In 1970-73 he made a ‘Continental Video & Film Tour’ with his ‘Mobile Museum of Modern Media’ through Belgium, Germany, France and the Netherlands.
With this rebellious attitude, he focuses his attention (from 1974) back to his first love, painting. For his ‘Street-Life’ paintings, he was elected laureate of the ‘Prix Jeune Peinture Belge’ (1974) at the Palais des Beaux-arts, Brussels. In monumental series on ‘Water’, ‘Light’, ‘Time’, ‘A Vision is Finer than a View’ and ‘New Models of Reality’, Heyrman paints an existential tension between between imagination, reality and images; an appeal to several senses at once — “I bring the visual and the conceptual, synesthetically closer together”. For Dr. Hugo Heyrman ideas are tools; his personal approach to colour, form, and atmosphere contributes to the possibilities of painting, and the adventure of the visual arts.
His works have been presented in major international exhibitions ranging from Antwerp, Brussels, Basel, Amsterdam, Paris, Rome, Barcelona and Chicago to the Biennale of Venice.
“Most probably it was Sigmund Freud’s influential essay on Leonardo’s homosexuality and Freud’s consequential analysis of the Mona Lisa which was the direct or proximate impetus for Duchamp’s image. But, whereas Duchamp seems to imply that the picture fuses artist and sitter, male and female, Freud suggests that the Mona Lisa (specifically her smile) is a manifestation of Leonardo’s submerged memory of the birth mother from whom he was estranged at age four and who Freud theorizes expressed an unnatural affection toward her young son. In fact, Freud refutes the notion that there is a physiognomic similarity between the artist and the sitter, but goes on to suggest that the device of the smile was obviously so meaningful to the artist, using it frequently in his works of the time, it must have repressed significance. The person behind the Mona Lisa, Freud suggests, may have had such a smile, a smile that evoked long ago suppressed memories of his mother. Indeed, as Freud is quick to point out, this seems to have been a persistent theme: Vasari even noted that at the earliest age Leonardo was known for having created images of smiling women:
Let us leave the physiognomic riddle of Mona Lisa unsolved, and let us note the unequivocal fact that her smile fascinated the artist no less than all spectators for these 400 years. This captivating smile had thereafter returned in all of his pictures and in those of his pupils. As Leonardo’s Mona Lisa was a portrait, we cannot assume that he has added to her face a trait of his own, so difficult to express, which she herself did not possess. It seems, we cannot help but believe, that he found this smile in his model and became so charmed by it that from now on he endowed it on all the free creations of his phantasy.
“(Sigmund Freud, Leonardo da Vinci: A study in psychosexuality. tr. A.A. Brill. New York, Vintage Books,  Originally published by Freud in 1910, p. 79.)”
a rich circle crafted by the human hand.It is inspired by a tapestry on a fire screen (around the turn of the century) which was in turn inspired by William Morris. It was the motif for Psybernet Bulletin Board which operated from April 1993 until about 1995. This image appeals to me and is an inspiration and symbol for the sort of work I do, on and off line. I see fertility, solidity and the organic nature of the tree contained in a rich circle crafted by the human hand. The motif has colour, fine detail and a sense of completion. You will see, I am sure, more ways that the image symbolises all types of work with the soul.