Dynamic Visual Formation

Abstract Computational media bring new complexities to the visual realm and the creation of visual forms. With the objective of examining theoretically and experimentally the creative process of image-making in the computer environment, a "system of dynamic visual formation" is proposed. The central argument is that images are no longer fixed, unique and eternal. Rather, what is created in computational media is a variable spatio-temporal module. Spatial and temporal properties of the system are defined. Ultimately, the investigation searches for the most elemental constituents of dynamic visual formation moving towards a theory of dynamic visual language. Art does not reproduce the visible but makes visible. Paul Klee, The Thinking Eye It is common sense that every new visual environment, every new medium, requires a different approach to the creation of visual elements. The forces at play are different for each case and thus demand new ways of conceiving in the visual realm. What is new in the creative process of image-making in computational media? Does Visual Language-and the basic elements as traditionally taught-suffice for the creation of visual forms in interactive media? And if not, what would the basic elements be? What and how can we to teach visual language both for and in a dynamic environment? Visual language Point, line and plane (and volume for 3D environments) are considered the basic elements of visual language-and of Geometry-and have been discussed in most books on visual language since the Bauhaus courses in the '2Os. Among the sources used are Kandinsky's Point and Line to Plane, Klee's The Thinking Eye and Dondis' A Primer of Visual Literacy. However, the distinction between point, line and plane is no longer necessary or even valid in a dynamic environment, where the spatial structure is a process which changes in time. In other words, each point, line and plane is now one of many states of a "dynamic visual formation." Traditionally, a visual element is described by seven basic attributes: shape, scale, orientation, position, tone, color and texture. The relations among the attributes create inner and outer qualities of elements, which provoke meaning-making. In the static visual world the seven attributes suffice for the creation of spatial structures and even the indication or inducement of spatial and temporal relations. Works of art by Kandinsky, Klee, Vasarely and Soto are examples. However, in a dynamic environment the attributes as such are not enough. The dimension of time must be incorporated in such a way that space and time can no longer be isolated. Dynamic media Computational media are of a different nature and require a different approach to the creation of visual elements. Essential to the creation of visual elements in the computer environment is previous knowledge of certain fundamentals: * "traditional" visual language used in the creation of static spatial structures; * "temporal" visual language used in the creation of spatio-temporal structures (such as in films); * perception of visual forms whether static or temporal. But these fundamentals are not enough. There is a need for new modes of visual sensitivity and conceptualization, as well as new modes of perception and creation of visual forms. With the objective of examining theoretically and experimentally the creative process of image-making in the computer environment, a "system of dynamic visual formation" is proposed. The main argument is that images are no longer fixed, unique and eternal. Rather, what is created in computational media is a variable spatio-temporal module. The principle governing the proposed system is that the paradigm of the creative process of image-making has changed. This shift has its origin in the 1920s. Four concepts are central to it: * spatial and temporal relationships within works of art; * transformable qualities of works of art; * participation of the viewer; * relationships with other arts and with scientific fields of knowledge. …