Return to Planet Claire (1981) - Sue Forner and Rick Frankel

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This is an example of early computer graphics animation developed by students at the Electronic Visualization Lab using the Datamax UV-1 and Zgrass.

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Wandawega Waters (1978) - Dan Sandin

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This is a example of early video art using the color capability of the Sandin Analogue Image Processor - the "Color IP".

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Not of this Earth (1978) - Barbara Latham, John Manning, and Ed Rankus

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This is a example of early video art using the color capability of the Sandin Analogue Image Processor - the "Color IP".

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Making of the Computer Graphics for Star Wars (Episode IV) (1977)

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The computer graphics for the first Star Wars film was created by Larry Cuba in the 1970s at the Electronic Visualization Laboratory (EVL) (at the time known as the Circle Graphics Habitat) at the University of Illinois at Chicago.

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Electronic Masks (1976) - Barbara Sykes

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This is a example of early video art by internationally renowned technologist and EVL/UIC MFA alumni Barbara Sykes using the color capability of the Sandin Analogue Image Processor - the "Color IP".

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Colorful Colorado (1974) - Phil Morton

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This is a example of early video art using the color capability of the Sandin Analogue Image Processor - the "Color IP".

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5 Minute Romp thru the IP (1971)

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This is an early video piece staring Dan Sandin in which he explains, in general terms, the functionality of the Sandin Analogue Image Processor (IP). This was the instructional video that accompanied the modules for constructing you own Sandin IP.

Sandin was an advocate of education and espoused a non-commercial philosophy, emphasizing a public access to processing methods and the machines that assist in generating the images. Accordingly, he placed the circuit board layouts for the IP with a commercial circuit board company and freely published schematics and other documentation.

The IP is a general-purpose patch programmable analogue computer, which is different from a regular digital computer, and is optimized to process video/television signals and sound. The video is processed through the IP "live" so that the viewer is able to see the effect on video signals. Initially the video is B&W;, at the end Sandin debuts the 'Color IP'.

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Video Selections from the Electronic Visualization Laboratory's First Decade

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A joint initiative between the University of Illinois at Chicago's College of Engineering and School of Art & Design, the Electronic Visualization Laboratory has long operated as a center for interdisciplinary research in art and computer science. Founded in 1973 by artist Daniel Sandin (creator of the Sandin Image Processor, a crucial tool for video artists in the 1970s) and computer scientist Tom DeFanti (developer of the GRASS programming language), over the years EVL has sponsored pivotal research and development in the field of visualization, resulting in output such as the virtual reality theater CAVE (Cave Automatic Virtual Environment) in 1992, the GeoWall in 2001, Varrier in 1999 and the LambdaTable in 2004.

Admittedly, one day of videos is not enough to cover the breadth of EVL's work from the past 36 years. That said, today we will post selections by EVL's faculty and students from the first decade. These clips capture the playfulness and excitement of their creators, as they experiment with new tools and techniques. All of these videos were sourced from EVL's YouTube account, which includes original work and documentation up to the present day.

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Corridor (1970) - Standish Lawder

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Music by Terry Riley. Sound for prologue by Standish Lawder.

Originally from UbuWeb.

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Prepare for Overload

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Video: Ray Sweeten, Altercations (Excerpts), 2007

Issue Project Room will host two video performances by San Francisco artist Nate Boyce and New York's own Ray Sweeten this Friday September 4th. Boyce will be showing all new work, some of which was developed for a recent exhibition at Partisan Gallery, a space based in Chris Fallon's apartment in San Francisco. I caught the closing party for the Partisan show last week, and took some shots of the installation, below. Boyce's work has long been informed by an interest in the manipulation of human perception through the moving image, but his new videos operate much like subliminal advertising, where letters flash in between short, jarring segments. Sweeten's work, which often integrates the use of an oscilloscope, can be equally overpowering. For Friday, bring earplugs, shades advised.

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Image: Nate Boyce, Installation from "New Work" at Partisan Gallery, Summer 2009

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Image: Nate Boyce, Installation from "New Work" at Partisan Gallery, Summer 2009

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