AIC, 1988 - AIC Associazione Italiana Autori della Fotografia ...

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AIC second method for the proportioning of angles. Here it is only possible to refer briefly to Alberti's orthogonal principles, as applied to the intersecting plane in relation to the horizontal, and how they were eventually developed. Piero della Francesca already began to develop them in some of his later theories, and they finally acquired a real and proper form in the "inclined plane" as applied to the paintings of Tintoretto and Paolo Veronese. Federico Comandino was the theorist responsible for the latter developments, which occurred at the height of the 15th Century, followed by Guidubaldo Del Monte who progressed them even further. From then, up until the time of Monge, perspective as applied to a flat surface rapidly developed into descriptive geometry: while the camera obscura, which first made its appearance in the 11 th Century, very slowly had lenses and mirrors incorporated in the period between the 16th and 18th Centuries, was first used as an "aid" by painters (Vermeer, Canaletto, Van Loo etc.) and then finally as a base for the creation of photography and its development. So far, we haven't mentioned when light and colour first came to be used in images. First of all, we have to go back to Pliny's charming little story and ask ourselves if, in fact, chiaroscuro and colour were compatible with "outline"? If it is a question of an "artificial" image, the answer is obviously no. Neveretheless, as far as the "natural" image is concerned, that is the one perceived by the eye/brain, the answer is not a definite no, but neither a definite yes. In fact, the "natural" image is not merely a retinal image, but the combined perception of tactile, kinetic, light and colour data which has been coordinated by the brain, therefore, drawing an outline on a flat surface can, so to speak, delineate a form geometrically, but when it is a question of drawing that does not require the application of mathematical principles, a compromise can be reached in which shadow can also be indicated and, in some cases, even a different light and colour tone. All things considered, however, an artificial image composed entirely of colour and light, cannot be compatible with a true and proper outline, as it can only be suggested at the points of maximum gradient. In short, a painter who wishes to create natural -looking images, can sketch in the outlines but then has to make them disappear as he works the paint to achieve the colour and light effects. All this certainly posed a great problem for the ancient Greeks. And it was only very late in the history of their magnificent vase painting that they were able to use their outline tecnique also to create light; and it was only in the latter part of the ancient Naturalistic period that they were able to combine colour, light and form, as is evident in the extraordinary frescoes and mosaics in Stabia, Herculaneum and Pompeii, as well as the mosaics in Amerina Square and the Constantinople Hippodrome. It took Leonardo da Vinci to both theorize and experiment the complete fusion between the representation of volume, colour and light, also developing, in addition to "linear perspective" (the guidelines of which are obliterated after use), the perspective of "colour" and the "perspective of expedition"; respectively, the attenuation of colour and gradual blurring of outline, in relation to distance. However, Leonardo also researched (and experimented, to a degree) the laws governing photometry, and the formation of shadows and half-light, distinguishing for the first time between individual light sources and a general source. At the same time, he evolved a method of analysing the light emitted by different colour sources, thus being able to establish the various "additive" mixes. The painter who understood and utilized the teachings of Leonardo most ably and most frequently was not Michelangelo, as many people think, but Raphael, and Leonardo's influence is most evident in the "school of Athens". There is no point in going into details here, as to how the later painters developed and updated the "artifical" images created by their predecessors in the 15th Century. From the point of view of optics, first black and white photography, and then colour, has to be considered as having inherited all the technologies used in the creation of the images, to which the cinema added movement. It must be acknowledged that, as far as the quality of light and colour is concerned, the paintings of the great maestros can hold their own with the best cinema photography created today. The photochemical image, espcially as used in the cinema, had only just begun to be propagated ana perfected, when it found itself having to combete with "rivals". The main one was the electronic image, which we also only have space to examine briefly here. Entrepreneurs and technologists went to work immediately, when they realized there was a possibility of transmitting images virtually anywhere electronically, which would enable them to avoid the lengthy developing and printing processes. However, it took seventy long hard years of research, before they succeeded in doing it. Just before 1873, the first devices capable of converting light signals into electric signals became operative. And in addition to the photoelectric cell, the photoconductive and photovoltaic cells were developed and, finally, the Kerr cell, which brought about the possibility of combining the actual sound track and film. Meanwhile, technologists were studying a way of breaking down and re-composing a colour and light system that was apparently continuous (real image) into different points of light of sufficient strengtlf. This was first attempted with mechanical devices (Nipkov disc), then electronic devices. The possibility of manipulating electronic images, breaking them down, freezing them, reducing them, enlarging them, superimposing them, altering their light and colour balance etc. not only resulted in considerable "creative achievements" (first communicated to the public in a systematic way at the "Documenta" in 1973 at Kassel), but also proved to be applicable in a completely new technobgical area. It was the area of outer space or, to be more precise, the race to conquer space (not merely for scientific reasons), which from the very beginning, made it necessary to "capture" images and transmit them back across cosmic distances to Earth. Very soon, the technologists found themselves having to resolve the problem of "background noise" which was greatly increased by the electromagnetic waves having to travel across such vast distances, and which resulted in all the images transmitted by the telecameras being "delayed". The breakthrough came in the early Sixties, when it was discovered that each image could be broken down into separate points, which could each be assigned a mathematical "name" (coordinate and value), and the transmission of the relative data for each "point" could be "delayed" for as much as was necessary to ensure its exact reconstruction and reinsertion into the matrix upon the data's being received on Earth. The combined forces of rocketry, astronomy, astrophysics, astronautics, optics, electronics, computer science etc. also began to be applied in this area, resulting in the creation of anew type of image, known as the "numerical" or "digital" image. However, this soon resulted in "elaboratore" having to be developed: not only did receiving, processing and transmitting equipment for domestic use have to be invented (telecameras and scanners with AD converters, and the appropriate calculators, tapes and discs, pbtters and video tubes), but also codes and "languages" had to be elaborated which would be capable of breaking down and recomposing all the data for each image, and transforming it as desired, so that it could be reversed with the appropriate algorithms. During these same years, the possibilities of analysing and transforming digital images, were also studied by various scholars and art historians, in order to explore the essential structure used in the representations of objects on a flat surface, which were also considered as different phases in the transformation of the real image. It is evident from what has been said that, if one leaves aside the images used in video games (which are all the rage, but which are only capable of transmitting "information" according to the rules of the game that the player has chosen) that the digital image was primarily invented to function, and remains — at the level of video graphics — mainly a scientific and technolgical instrument, however, it can also be used to create art (with its synthesized images, which can be applied to at least ten minutes of a sci-fi film, or the creation of a television station signal). What will be the future of the various technologies applied to the creation of the image? First of all, we have to put aside the idea that when new technologies are created, they immediately supplant the preceding ones. For example, painting has not been supplanted by photography which, if anything, has caused it to re-define itself; neither was photography supplanted by cinema, nor cinema by television — and it won't be as long as its photochemical images maintain their superior definition. It is, instead, likely that all these various technobgies will continue to co-exist for some time, each to a certain extent supporting the other. As far as the digital image is concerned, it has the particular advantage of being able to unify, and also absorb, to a certain extent, the preceding technolgies. It can take the form of static configurations identical to compositions of objects (even though they are not physically the same), and also moving configurations (even if these are still not comparable to the moving cinematographic image); it is based on anabgical references, but undergoes the conventional and symbolic digitization process and, general, bgical and mathematical representation; it adds a new dimension to the creation of art, and at the same time is a subject for scientific verification, research and evaluation; finally it combines with the traditional photochemical image, when one needs to fix the forms created and print them. In fact, the digital image is linked to all the other aspects of the world of calculators and, therefore, to all the other worlds of technical and scientific knowledge. Thus, the digital image is presently creating an "adult" and "in" alternative to the video game, which requires far more intelligence, is very popular with the young, practised extensively, and goes under the name of "hobbistics". It is radically transforming the world of enimatography and the crossword puzzle and introducing a comprehensive knowledge of the rules governing bgic and communication into our culture which, up until a generation ago, had been ousted by cheap intuiticmism and creationism and the indifference shown to technobgical and scientific knowledge (when it was not actually look ed down upon).
AIC Lino asino fu già, ch'ogni osso e nervo mostrava di magrezza, e entrò pel rotto del muro, ove di grano era uno acervo. E tanto ne mangiò, che l'èpa sotto si fece più d'una gran botte grossa, fin che fu sazio, e non però di botto. Temendo poi che gli sien peste l'ossa, si sforza di tornar dove entrato era, ma par che 'l buco più capir noi possa. Mentre s'affanna, e uscire indarno spera, gli disse un topolino: — Se vuoi quinci uscir, tratti compar quella panciera: a vomitar bisogna che cominci ciò c'hai nel corpo, e che ritomi macro, altrimenti quel buco mai non vinci. — Or conchiudendo dico, che se 'l sacro cardinal comperato avermi stima con li suoi doni, non mi è acerbo ed acro renderli, e tòr la libertà mia prima. il L. Ariosto (Satire, II)
Page 1 and 2: AIC ASSOCIAZIONE ITALIANA AUTORI DE
Page 3 and 4: AIC Muchos anos después, frente el
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Page 7 and 8: AIC Realizzazione e redazione MARIO
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Page 11 and 12: AIC 91 CINQUE ANNI DI PROGRAMMAZION
Page 13 and 14: AIC producers have (especially in I
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Page 17 and 18: AIC Partirei dall'idea che l'immagi
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Page 21 and 22: AIC Bordeu. "Cosa circoscrive la vo
Page 23 and 24: AIC enfatizzate e prolungate, per s
Page 25 and 26: AIC ; » t®' ' WM mm i L'IMMAGINE
Page 27 and 28: AIC Ci sono giorni in cui penso sia
Page 29 and 30: AIC "Cinema è tutto ciò che non s
Page 31 and 32: AIC "One from the heart" di Vittori
Page 33 and 34: AIC Molti, troppi sono i miti che c
Page 35 and 36: AIC Oggi i più hanno (o pensano di
Page 37: AIC continuino a coesistere, in cer
Page 41 and 42: AIC Immagine da computer graphic di
Page 43 and 44: AIC LA PROSPETTIVA ... anni, paiono
Page 45 and 46: AIC la lente, il microscopio, il te
Page 47 and 48: AIC addensamenti di energia resti u
Page 49 and 50: AIC Movie People: agile e dinamico
Page 51 and 52: AIC "Luci lontane" di Renato Tafuri
Page 53 and 54: AIC D A M Kodak è soprattutto tecn
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Page 59 and 60: AIC Schmidt Reitwein, Robby Mùller
Page 61 and 62: AIC Ad un primo sguardo, i compiti
Page 63 and 64: AIC Cominciamo con un paradosso. Da
Page 65 and 66: AIC ^IMMAGINE E L'ANGOSCIA 61 Io ri
Page 67 and 68: AIC modem cameras. We cannot afford
Page 69 and 70: AIC 10% (escludendo le lavorazioni
Page 71 and 72: AIC I PIÙ TIRANO I MENO (proverbio
Page 73 and 74: AIC cinematografica medesima. La ma
Page 75 and 76: AIC pensa la gente. A volte ho anch
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Page 79 and 80: AIC EASTMAN. NEL NOME DEL COLORE. U
Page 81 and 82: AIC questo contatto. Che fare per n
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Page 85 and 86: AIC L'IMMAGINE E L'ANGOSCIA La gola
Page 87 and 88: AIC anche essere il tavolo della tr
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AIC T 3.1 T 3.1 T 2.3 T 2.3 T 3.9 L
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AIC Nel frattempo i cittadini dovra
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AIC World Cup '90, Europe '92, etc.
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AIC Giunto al quinto anno di progra
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AIC
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AIC "L'intervista" di Tonino Delli
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AIC
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AIC COLLEGIO DEI PROBIVIRI Armando
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IVO GRIPPO Via Tuscolana 1055, 0017
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AIC GIUSEPPE MODICA Quantunque il l
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AIC L'IMMAGINE E Gli AUTORI ROMANO
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AIC ARMANDO NANNUZZI
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AIC TONINO MACCOPP1 SANDRO D'EVA Fo
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AIC CESARE ALLIONE Me stato chiesto
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AIC DANIELE NANNUZZI Il giovane Tos
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AIC
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AIC ROBERTO D'ETTORRE PIAZZOLI Non
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AIC GIANFRANCO TRANSUNTO È la luce
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AIC CLAUDIO CIRILLO Lux anima rerum
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AIC ROBERTO SALMI L'immagine è il
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AIC
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AIC "L'ultimo imperatore" di Vittor
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AIC evoluzione figurativa del lungo
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AIC avanti e indietro, come a somma
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AIC segment of the Film would relat
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AIC Molti chiedono come si diventi
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AIC maggior collaboratore del regis
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AIC Capivo che, nell'inquadratura f
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AIC Dalle esigenze artistiche di al
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AIC Ancora oggi se ci capita di ved
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AIC reality became one. Even now th
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AIC recommended me to Federico Fell
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AIC Ci ricordava Francois Truffaut
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AIC Com e noto, la troupe cinematog
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AIC
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AIC "Sudan subacqueo" di G. Lorenzo
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AIC E volentieri che faccio mia una
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AIC
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AIC lavora ancora a tardissima età
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AIC of the "product". And then ther
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AIC Allo scoppio della seconda guer
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AIC audience that extended across f
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AIC A 78 anni ALDO TONTI é morto i
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AIC I teatri della De Paolis sulla
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AIC V DE P AOL IS - INC IR INDUSTRI
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AIC confidenze, a volte non troppo
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AIC Immagine e letteratura LORENZO
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AIC movie era, written by some of i
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AIC LA TUA FIGURA, UN RICORDO Un di
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AIC A proposito del film di Tovoli
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AIC LA MODA DELL'AVVENIRE Calendari
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AIC A.A.I.M.A. ROMA Via Aurelio 332
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AIC l'IT A H A OSI 81C0M SICIHOBIOH
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AIC Quale un fanciullo, con assidua
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AIC Si ringraziano G. Franco Borgio
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AIC, 1988 - AIC Associazione Italiana Autori della Fotografia ...

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