Matthew Ritchie | Yvette Brackman | Benjamin Weil

A Light Zone Visible

Terry Winters

direct painting synthesizes values of velocity and temperature / uneven

tensor fields are produced by simulations / a variety of pressure, vorticity,

and data / paint tracers are techniques that exist for displaying aspects

of the flow / interaction is used in real time, showing tracking and

steering solutions / models of light zones, from the optic superior to the

signal nerve / a structure concerned with visual attention, thought, and

the processing of emotion / it is called the area of stripped appearance

Viewing Transformations

geometry is complex when positioned in a painted space / its order is

mapped / the frames of reference indicate how the picture relates to a

regular grid / incremental changes can cause a matrix multiplication /

positions need to be determined / increments are provided through

rotation and extension / the differences between viewing space and

painted space / use the known relationships / points and rays mark the

spaces or transform the picture to produce simple data for an arbitrary

viewing / objectification maps more points / data pass a sample

rectangle / a ray is sent through space, illuminating an appropriate

multiple view / paintings intersect single points through parallel

ascription / some offer perspective as clarification of depth ordering,

or as sections through the world / a transferral of size with distance


represent events optically / while some data samples, such as

temperature, pressure, or velocity, often are not manifest visually,

distinguishing points and important aspects can be rendered as

natural scenes / the aim of painting these relationships is to create

striking images between meanings / an important question in painting

analogue functions is how to map a figure of resemblance / often simple

transfer is used, for example, between black and white / mapping

temperature to a range of complex readings

Anagram Connections

random networks generate automatically / painting demonstrates

the networks / each mark sends out probes within a specific region /

the search radius then makes contact with neighboring areas / the radius

connection for each mark is found, and the number of contacts are then

calculated / pictures are based on these unions


the painted world is a wavelength of variable images in visible light /

colored filters give a completely new window on the scene / each

spectral region provides a regime, an independent observational realm /

in addition, within each spectral dimension, pictures are obtained /

in more dramatic examples, light appears to spiral out from a central

disk / the luminous arms are regions of the spectrum / evolution

produces the helical painting / pictures can change knowledge

of systems forever


vectors as tools for visualizing multiple components / the degrees

of magnitude and direction / paintings are useful for the understanding

of multi-dimensional and dimensionless relationships / space

in three flavors / the direction of force defines the plane / the traditional

field of true-value painted functions / marks are used to plot the

gradient at every point on the visible field / the tangent has an important

emotional quality / the impact of potential geometries on the system /

painting measures the asymmetry of motion / an equation of potential

fields show the shaded trajectory of the painted image / painting

an object often reveals hidden significances and shows an image

with distinct varieties in structure / time-dependent information is

presented as a single image

Distribution Functions

effects such as transparency and reflection determine the nature

of the generating map / an approach to painting fundamentals /

closed-curve surfaces that are able to make sudden topological changes /

descriptive, dynamic, and illustrative examples are fabricated / a picture's

definition is a work in progress, presented / the paintings utilize

special densities / rendering is both gradual and catastrophic /

the implementation of painting techniques produces free-form images /

the picture is drawn from existing sources whose shapes are

transformed interactively

Moved by Guided Hands

the goal of painting is to build real objects / a construction of

synthesized factual pictures that use imaginary shaping forces / painting

is a legitimate response to imposed conditions / resulting images are

governed by assembled energies and depicted spaces / the confines of

two-dimensional motion are resilient / principled pictures behave

realistically / a mass of interpenetrating figure / unformed parts apply

pressures and are subsequently assembled into compound images /

recognitions of a real world / gesture models the evidence as colliding

geometric phantoms give spirit to a work in progress

Orignally published by the Press,

116 West 29th Street, New York, NY 10001 (212) 947 8346

copyright 1995 Terry Winters

Matthew Ritchie | Yvette Brackman | Benjamin Weil