Light Logic

Edmonds, EA

Light Logic

Edmonds, EA

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Publication Type:: Exhibition
Citation:: Light Logic
Issue Date:: 2012

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Field	Value	Language
dc.contributor.author	Edmonds, EA	en_US
dc.date.issued	2012
dc.identifier.citation	Light Logic	en_US
dc.identifier.uri	http://hdl.handle.net/10453/32674
dc.relation.ispartof	Light Logic	en_US
dc.rights	info:eu-repo/semantics/openAccess
dc.title	Light Logic	en_US
dc.type	Exhibition
utslib.location	Site Gallery, Sheffield, UK; Conny Dietzschold Gallery, Sydney	en_US
utslib.for	1203 Design Practice and Management	en_US
pubs.embargo.period	Not known	en_US
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/Faculty of Engineering and Information Technology
pubs.organisational-group	/University of Technology Sydney/Faculty of Engineering and Information Technology/School of Software
pubs.organisational-group	/University of Technology Sydney/Strength - HCTD - Human Centred Technology Design
utslib.copyright.status	open_access
pubs.place-of-publication	Site Gallery, Sheffield, UK; Conny Dietzschold Gallery, Sydney	en_US
pubs.rights-statement	What are the implications of the computer for the constructivist tradition? In November 2012, the Site Gallery in Sheffield, UK, opened Light Logic, a solo-show of pioneering computer artist Ernest Edmonds. Emerging as part of the UK constructivist movement in the 1960s working under the mentorship of figures such as Kenneth Martin, Edmonds made his first algorithmic painting piece in 1968. The title reflects the two enduring fields of investigation that have driven Edmonds’ practice. The perception and production of light have been critical to the artist and the works stand alone as aesthetic investigations into colour. The exhibition includes a selection of archival works. Projected light in relation to reflected light is a central concern, and linked sets of drawings, paintings and moving images are brought together. A newly commissioned generative light sculpture Shaping Space completes the exhibition. The installation records and responds to its environment. Speed, colour and shape are triggered by the movement of viewers’ bodies and the work becomes a unique, autonomous, learning machine. The art of the Constructivists becomes simultaneously humanized and mechanized. With early works in dialogue with recent pieces, the exhibition presents the critical interests of an artist whose work predicted developments in art and philosophy in an accelerated technological world. Funded by the Arts Council of England, the Computer Arts Society and the Henry Moore Foundation. The formal evaluation of audience experience was presented at ISEA 2013 in Sydney when the exhibition toured to the Conny Dietzschold Gallery. Shaping Space was also presented at the PAF (Přehlídka animovaného filmu) Festival of Film Animation Olomouc (Czech Republic) in 2013.	en_US

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http://hdl.handle.net/10453/32674