{"id":1828,"date":"2023-08-05T15:16:13","date_gmt":"2023-08-05T15:16:13","guid":{"rendered":"https:\/\/williamcromar.com\/newmediawiki\/?p=1828"},"modified":"2024-03-16T23:52:38","modified_gmt":"2024-03-16T23:52:38","slug":"alternate-realities","status":"publish","type":"post","link":"https:\/\/williamcromar.com\/newmediawiki\/alternate-realities\/","title":{"rendered":"Alternate realities"},"content":{"rendered":"\n<div class=\"wp-block-columns has-white-background-color has-background is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-vertically-aligned-center is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:25%\">\n<p class=\"has-text-align-center has-small-font-size\"><em>Back to&#8230;<\/em><\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:75%\">\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\"><div class=\"wp-block-image is-style-default\">\n<figure class=\"aligncenter size-full is-resized\"><a href=\"https:\/\/williamcromar.com\/newmediawiki\/3d-plane-to-volume\/\"><img loading=\"lazy\" decoding=\"async\" width=\"690\" height=\"690\" data-attachment-id=\"332\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/nmw\/fabbing\/donald-judd-untitled1965\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/donald-judd-untitled1965.png\" data-orig-size=\"690,690\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"donald-judd-untitled1965\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/donald-judd-untitled1965.png\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/donald-judd-untitled1965.png\" alt=\"\" class=\"wp-image-332\" style=\"aspect-ratio:1;object-fit:cover;width:120px;height:undefinedpx\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/donald-judd-untitled1965.png 690w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/donald-judd-untitled1965-300x300.png 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/donald-judd-untitled1965-150x150.png 150w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/donald-judd-untitled1965-100x100.png 100w\" sizes=\"auto, (max-width: 690px) 100vw, 690px\" \/><\/a><\/figure>\n<\/div>\n\n\n<p class=\"has-text-align-center has-small-font-size\"><strong><a href=\"https:\/\/williamcromar.com\/newmediawiki\/3d-plane-to-volume\/\">3D | plane &gt; volume<\/a><\/strong><\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\"><div class=\"wp-block-image is-style-default\">\n<figure class=\"aligncenter size-full is-resized\"><a href=\"https:\/\/williamcromar.com\/newmediawiki\/elements\/\"><img loading=\"lazy\" decoding=\"async\" width=\"453\" height=\"453\" data-attachment-id=\"135\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/nmw\/3d-modeling\/elements\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/elements.png\" data-orig-size=\"453,453\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"elements\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/elements.png\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/elements.png\" alt=\"\" class=\"wp-image-135\" style=\"aspect-ratio:1;object-fit:cover;width:120px;height:undefinedpx\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/elements.png 453w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/elements-300x300.png 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/elements-150x150.png 150w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/07\/elements-100x100.png 100w\" sizes=\"auto, (max-width: 453px) 100vw, 453px\" \/><\/a><\/figure>\n<\/div>\n\n\n<p class=\"has-text-align-center has-small-font-size\"><strong><a href=\"https:\/\/williamcromar.com\/newmediawiki\/elements\/\">3 | elements<\/a><\/strong><\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\"><div class=\"wp-block-image is-style-default\">\n<figure class=\"aligncenter size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"478\" height=\"477\" data-attachment-id=\"1652\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/elements\/william-bailey\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/william-bailey.jpg\" data-orig-size=\"478,477\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;Walter Robinson&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1333403290&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"william-bailey\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/william-bailey.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/william-bailey.jpg\" alt=\"\" class=\"wp-image-1652\" style=\"aspect-ratio:1;object-fit:cover;width:120px;height:undefinedpx\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/william-bailey.jpg 478w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/william-bailey-300x299.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/william-bailey-150x150.jpg 150w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/william-bailey-100x100.jpg 100w\" sizes=\"auto, (max-width: 478px) 100vw, 478px\" \/><\/figure>\n<\/div>\n\n\n<p class=\"has-text-align-center has-small-font-size\"><strong>altRealities<\/strong><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\"><div id=\"ez-toc-container\" class=\"ez-toc-v2_0_82_2 counter-hierarchy ez-toc-counter ez-toc-grey ez-toc-container-direction\">\n<div class=\"ez-toc-title\" style=\"cursor:inherit\">Contents<\/div>\n<label for=\"ez-toc-cssicon-toggle-item-69f0f81ed7f11\" class=\"ez-toc-cssicon-toggle-label\"><span class=\"ez-toc-cssicon\"><span class=\"eztoc-hide\" style=\"display:none;\">Toggle<\/span><span class=\"ez-toc-icon-toggle-span\"><svg style=\"fill: #999;color:#999\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"list-377408\" width=\"20px\" height=\"20px\" viewBox=\"0 0 24 24\" fill=\"none\"><path d=\"M6 6H4v2h2V6zm14 0H8v2h12V6zM4 11h2v2H4v-2zm16 0H8v2h12v-2zM4 16h2v2H4v-2zm16 0H8v2h12v-2z\" fill=\"currentColor\"><\/path><\/svg><svg style=\"fill: #999;color:#999\" class=\"arrow-unsorted-368013\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"10px\" height=\"10px\" viewBox=\"0 0 24 24\" version=\"1.2\" baseProfile=\"tiny\"><path d=\"M18.2 9.3l-6.2-6.3-6.2 6.3c-.2.2-.3.4-.3.7s.1.5.3.7c.2.2.4.3.7.3h11c.3 0 .5-.1.7-.3.2-.2.3-.5.3-.7s-.1-.5-.3-.7zM5.8 14.7l6.2 6.3 6.2-6.3c.2-.2.3-.5.3-.7s-.1-.5-.3-.7c-.2-.2-.4-.3-.7-.3h-11c-.3 0-.5.1-.7.3-.2.2-.3.5-.3.7s.1.5.3.7z\"\/><\/svg><\/span><\/span><\/label><input type=\"checkbox\"  id=\"ez-toc-cssicon-toggle-item-69f0f81ed7f11\"  aria-label=\"Toggle\" \/><nav><ul class='ez-toc-list ez-toc-list-level-1 ' ><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-1\" href=\"https:\/\/williamcromar.com\/newmediawiki\/alternate-realities\/#Will_the_real_Real_please_stand_up\" >Will the real Real please stand up?<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-2\" href=\"https:\/\/williamcromar.com\/newmediawiki\/alternate-realities\/#A_deeper_paradox\" >A deeper paradox<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-3\" href=\"https:\/\/williamcromar.com\/newmediawiki\/alternate-realities\/#An_ethical_dimension\" >An ethical dimension<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-4\" href=\"https:\/\/williamcromar.com\/newmediawiki\/alternate-realities\/#Realism\" >Realism<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-5\" href=\"https:\/\/williamcromar.com\/newmediawiki\/alternate-realities\/#Ancient_realism\" >Ancient realism<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-6\" href=\"https:\/\/williamcromar.com\/newmediawiki\/alternate-realities\/#Renaissance_perspective\" >Renaissance perspective<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-7\" href=\"https:\/\/williamcromar.com\/newmediawiki\/alternate-realities\/#Neoclassicism\" >Neoclassicism<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-8\" href=\"https:\/\/williamcromar.com\/newmediawiki\/alternate-realities\/#Realism_as_a_movement\" >Realism as a movement<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-9\" href=\"https:\/\/williamcromar.com\/newmediawiki\/alternate-realities\/#Surrealism\" >Surrealism<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-10\" href=\"https:\/\/williamcromar.com\/newmediawiki\/alternate-realities\/#Renaissance_%E2%80%9Csurrealism%E2%80%9D\" >Renaissance &#8220;surrealism&#8221;<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-11\" href=\"https:\/\/williamcromar.com\/newmediawiki\/alternate-realities\/#Modern_surrealism\" >Modern surrealism<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-12\" href=\"https:\/\/williamcromar.com\/newmediawiki\/alternate-realities\/#Photorealism\" >Photorealism<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-13\" href=\"https:\/\/williamcromar.com\/newmediawiki\/alternate-realities\/#Camera_obscura\" >Camera obscura<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-14\" href=\"https:\/\/williamcromar.com\/newmediawiki\/alternate-realities\/#Modern_photorealism\" >Modern photorealism<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-15\" href=\"https:\/\/williamcromar.com\/newmediawiki\/alternate-realities\/#Hyperrealism\" >Hyperrealism<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-16\" href=\"https:\/\/williamcromar.com\/newmediawiki\/alternate-realities\/#Presence_of_absence\" >Presence of absence<\/a><\/li><\/ul><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-17\" href=\"https:\/\/williamcromar.com\/newmediawiki\/alternate-realities\/#CGI\" >CGI<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-18\" href=\"https:\/\/williamcromar.com\/newmediawiki\/alternate-realities\/#Cybrids_Mixed_reality\" >Cybrids: Mixed reality<\/a><ul class='ez-toc-list-level-3' ><li class='ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-19\" href=\"https:\/\/williamcromar.com\/newmediawiki\/alternate-realities\/#A_cybrid_gestalt\" >A cybrid gestalt<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-20\" href=\"https:\/\/williamcromar.com\/newmediawiki\/alternate-realities\/#Virtual_Reality\" >Virtual Reality<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-21\" href=\"https:\/\/williamcromar.com\/newmediawiki\/alternate-realities\/#Augmented_reality\" >Augmented reality<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-3'><a class=\"ez-toc-link ez-toc-heading-22\" href=\"https:\/\/williamcromar.com\/newmediawiki\/alternate-realities\/#Digital_fabrication\" >Digital fabrication<\/a><\/li><\/ul><\/li><\/ul><\/nav><\/div>\n\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:50%\">\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:100%\"><div class=\"wp-block-image is-style-default\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"478\" height=\"477\" data-attachment-id=\"1652\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/elements\/william-bailey\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/william-bailey.jpg\" data-orig-size=\"478,477\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;Walter Robinson&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1333403290&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"william-bailey\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/william-bailey.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/william-bailey.jpg\" alt=\"\" class=\"wp-image-1652\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/william-bailey.jpg 478w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/william-bailey-300x299.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/william-bailey-150x150.jpg 150w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/william-bailey-100x100.jpg 100w\" sizes=\"auto, (max-width: 478px) 100vw, 478px\" \/><\/figure>\n<\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Will_the_real_Real_please_stand_up\"><\/span>Will the real Real please stand up?<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p>In 1968, Michel Foucault wrote a small book, or perhaps a long essay, called<strong> Ceci n&#8217;est pas une pipe<\/strong> (in English, <strong>This is Not a Pipe<\/strong>). There he ruminates on a drawing by Ren\u00e9 Magritte. This drawing contains the same phrase rendered in a painstakingly naive, practice-makes-perfect cursive. The image also contains an exquisitely rendered image of a pipe. It became the inspiration for a painting called <strong>La Trahison des Images<\/strong>. In English, this translates variously as <strong>The Betrayal of Images<\/strong> or <strong>The Treachery of Pictures<\/strong>.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"A_deeper_paradox\"><\/span>A deeper paradox<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>Magritte&#8217;s rendered text superficially refers to the paradoxical relationship of reality to painting. That is: the image of a thing realistically rendered is not the thing itself. But for Foucault, Magritte does much more, performing a nuanced and ambiguous visual critique of language itself. The text <strong>pipe<\/strong> is also not a pipe, simply an arbitrary signifier, squiggly lines arbitrarily assigned to sounds which are in turn arbitrarily assigned to the reality we recognize as the thing <strong>pipe<\/strong>.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"378\" height=\"264\" data-attachment-id=\"1829\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/alternate-realities\/magritte_pipe\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/Magritte_Pipe.jpg\" data-orig-size=\"378,264\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1305107567&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"Magritte_Pipe\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/Magritte_Pipe.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/Magritte_Pipe.jpg\" alt=\"\" class=\"wp-image-1829\" style=\"width:320px;height:undefinedpx\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/Magritte_Pipe.jpg 378w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/Magritte_Pipe-300x210.jpg 300w\" sizes=\"auto, (max-width: 378px) 100vw, 378px\" \/><figcaption class=\"wp-element-caption\"><em>Ren\u00e9 Magritte,&nbsp;<\/em><br><em>La trahison des images,<\/em><br><em>1928-29<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"320\" height=\"223\" data-attachment-id=\"1830\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/alternate-realities\/la_trahison_des_elements_d-image\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/la_trahison_des_elements_d-image.jpg\" data-orig-size=\"320,223\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"la_trahison_des_elements_d-image\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/la_trahison_des_elements_d-image.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/la_trahison_des_elements_d-image.jpg\" alt=\"\" class=\"wp-image-1830\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/la_trahison_des_elements_d-image.jpg 320w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/la_trahison_des_elements_d-image-300x209.jpg 300w\" sizes=\"auto, (max-width: 320px) 100vw, 320px\" \/><figcaption class=\"wp-element-caption\"><em>williamCromar,<\/em><br><em>la trahison des \u00e9l\u00e9ments d&#8217;image,<\/em><br><em>\u00a9\ufe0f 2009 by the author<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<p>In that spirit, this author created a transformational work based on the Magritte painting. The transformation of the text to <strong>Ceci n&#8217;est pas une image<\/strong> extends Magritte&#8217;s logic to the contemporary defining paradox of digital media. That is: the image of the picture is not a picture. Instead, it&#8217;s an accumulation of code, which is itself purely text, translated by an output device into pixels. The title completes the transformation by replacing images with <strong>\u00e9l\u00e9ments d&#8217;image<\/strong>, French for <strong>elements of the picture<\/strong>, an approximation of the English <strong>picture elements<\/strong> from which we get the abbreviated term <strong>pixels<\/strong>.<\/p>\n\n\n\n<p>So, reality is a slippery thing in art! This, even though &#8220;real-ism&#8221; is a standard that many people who view works of art apply to gauge the worth of an artist.&nbsp;<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"An_ethical_dimension\"><\/span>An ethical dimension<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>The reality is that reality takes on many guises in the art world. We have&nbsp;Realism, Surrealism, Photorealism, Hyperrealism, Virtual Reality, Augmented Reality, Computer Generated Imagery, and Digital Fabrication. All of these share one thing in common: <strong>mimesis<\/strong>, the quality of miming or imitating the real world. But the digital age is making the boundary between the real and the various real-isms increasingly tricky to negotiate. <\/p>\n\n\n\n<p>This has had a profound effect on society, from the rise of <a href=\"https:\/\/breakyourownnews.com\/\" target=\"_blank\" rel=\"noreferrer noopener\">fake news<\/a> to the development of <a href=\"https:\/\/en.wikipedia.org\/wiki\/Deepfake\" target=\"_blank\" rel=\"noreferrer noopener\">deepfakes<\/a> and the <a href=\"https:\/\/en.wikipedia.org\/wiki\/Artificial_intelligence\" target=\"_blank\" rel=\"noreferrer noopener\">artificial intelligence<\/a> upon which they are dependent. As an artist who may one day soon acquire the skill to create your own version of reality, what are the ethical ramifications of your praxis? To answer that question, begin by understanding the history of alternate realities in art and design.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Realism\"><\/span>Realism<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p>As a movement in art, <strong>Realism<\/strong> is recognized by historians as having launched in France in the 1850s. But the tendency toward mimesis has a history far broader and deeper than we can cover in this title. Still, to understand the relationship of our digital project to the ambitions of mimesis, we&#8217;ll sample. The far shorter history of digital modeling has been characterized by a quest for realism in the rendering process. This has largely been driven by design industries such as architecture or industrial design that demand visual fidelity with reality to display the future presence of an object or building. It&#8217;s also demanded by Hollywood CGI (computer-generated imagery) special effects. It&#8217;s an economical means of modeling everything from spacecraft in <strong>Star Wars<\/strong> to ancient Rome in <strong>Gladiator<\/strong>. And, of course, the gaming industry seeks to replicate experiences of the world a player might not otherwise encounter.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Ancient_realism\"><\/span>Ancient realism<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>In a tradition dating back to ancient fresco work such as that found in the <strong>ruins of Pompeii<\/strong>, the quest for <strong>trompe-l&#8217;oeil<\/strong> (French for <strong>fool-the-eye<\/strong>) realism has long been a pursuit of artists in the West.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"474\" data-attachment-id=\"1832\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/alternate-realities\/still_life_house_of_julia_felix_pompeii\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/Still_life_house_of_julia_felix_pompeii.jpg\" data-orig-size=\"800,474\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Still_life_house_of_julia_felix_pompeii\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/Still_life_house_of_julia_felix_pompeii.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/Still_life_house_of_julia_felix_pompeii.jpg\" alt=\"\" class=\"wp-image-1832\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/Still_life_house_of_julia_felix_pompeii.jpg 800w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/Still_life_house_of_julia_felix_pompeii-300x178.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/Still_life_house_of_julia_felix_pompeii-768x455.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/><figcaption class=\"wp-element-caption\"><em>House of Julia Felix, Pompeii, ca. 1st C CE<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Renaissance_perspective\"><\/span>Renaissance perspective<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>A quantum leap forward toward that end is found in the Church of Santa Maria Novella in Florence, Italy. There, Masaccio&#8217;s&nbsp;<strong>The Holy Trinity<\/strong>&nbsp;uses the newly discovered laws of perspective to extend the space of the chapel into the space of the image.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1028\" height=\"2073\" data-attachment-id=\"7633\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-15-metaphors-to-photography\/masaccio_trinita\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Masaccio_trinita.jpg\" data-orig-size=\"1028,2073\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Masaccio_trinita\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Masaccio_trinita-508x1024.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Masaccio_trinita.jpg\" alt=\"\" class=\"wp-image-7633\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Masaccio_trinita.jpg 1028w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Masaccio_trinita-149x300.jpg 149w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Masaccio_trinita-508x1024.jpg 508w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Masaccio_trinita-768x1549.jpg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Masaccio_trinita-762x1536.jpg 762w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Masaccio_trinita-1016x2048.jpg 1016w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/Masaccio_trinita-300x605.jpg 300w\" sizes=\"auto, (max-width: 1028px) 100vw, 1028px\" \/><figcaption class=\"wp-element-caption\"><em>Masaccio, The Holy Trinity, 1427<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Neoclassicism\"><\/span>Neoclassicism<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>By the Neoclassical movement of the late 1700s, painting radiated with stunning realism, from the heroic paintings of Jacque-Louis David to the more humble still life work of&nbsp;<strong>Anne Vallayer-Coster<\/strong>. Her paintings are&nbsp;reminiscent of the Pompeiian fresco&#8217;s ambitions (with Pompeii being excavated at the time, not surprisingly).<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"745\" height=\"600\" data-attachment-id=\"1834\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/alternate-realities\/anne_vallayer-coster_a_still_life_of_mackerel\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/Anne_Vallayer-Coster_A_still_life_of_mackerel.jpg\" data-orig-size=\"745,600\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Anne_Vallayer-Coster_A_still_life_of_mackerel\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/Anne_Vallayer-Coster_A_still_life_of_mackerel.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/Anne_Vallayer-Coster_A_still_life_of_mackerel.jpg\" alt=\"\" class=\"wp-image-1834\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/Anne_Vallayer-Coster_A_still_life_of_mackerel.jpg 745w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/Anne_Vallayer-Coster_A_still_life_of_mackerel-300x242.jpg 300w\" sizes=\"auto, (max-width: 745px) 100vw, 745px\" \/><figcaption class=\"wp-element-caption\"><em>Anne Vallayer-Coster,&nbsp;A still life of mackerel, glassware, a loaf of bread and lemons on a table with a white cloth, ca. 1787<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Realism_as_a_movement\"><\/span>Realism as a movement<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>Eventually, political restlessness led to revolution and concern with the social status of the working class. While Marx and Engels were publishing their Communist Manifesto, Gustave Courbet in 1849 created a different sort of manifesto: <strong>The Stonebreakers<\/strong>. For an era that expected Romantic excess and uplifting heroic themes calculated to support the prevailing social order, this was a painting calculated to provoke the upper classes who patronized the art world. Such work became the center of <strong>Realism<\/strong> as an artistic movement.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"488\" data-attachment-id=\"1835\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/alternate-realities\/gustave_courbet_018\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/Gustave_Courbet_018.jpg\" data-orig-size=\"800,488\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Gustave_Courbet_018\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/Gustave_Courbet_018.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/Gustave_Courbet_018.jpg\" alt=\"\" class=\"wp-image-1835\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/Gustave_Courbet_018.jpg 800w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/Gustave_Courbet_018-300x183.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/Gustave_Courbet_018-768x468.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/><figcaption class=\"wp-element-caption\"><em>Gustave Courbet, The Stonebreakers, 1849<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Its proletarian concerns evolved into a less nuanced, sometimes more didactic brand of <strong>Social Realism<\/strong> in the Twentieth Century.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"440\" height=\"531\" data-attachment-id=\"1836\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/alternate-realities\/grant_wood_-_american_gothic_-_google_art_project\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/Grant_Wood_-_American_Gothic_-_Google_Art_Project.jpg\" data-orig-size=\"440,531\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Grant_Wood_-_American_Gothic_-_Google_Art_Project\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/Grant_Wood_-_American_Gothic_-_Google_Art_Project.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/Grant_Wood_-_American_Gothic_-_Google_Art_Project.jpg\" alt=\"\" class=\"wp-image-1836\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/Grant_Wood_-_American_Gothic_-_Google_Art_Project.jpg 440w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/Grant_Wood_-_American_Gothic_-_Google_Art_Project-249x300.jpg 249w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/Grant_Wood_-_American_Gothic_-_Google_Art_Project-300x362.jpg 300w\" sizes=\"auto, (max-width: 440px) 100vw, 440px\" \/><figcaption class=\"wp-element-caption\"><em>Grant Wood, American Gothic, 1930<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Quite a different strain of individualistic realism also took root in the United States at the same time. Works by artists such as Edward Hopper and the Wyeths evolved into very personal visions and often deep metaphors. Through the filter of Modern, minimalist colorists such as Joseph Albers, yet another iteration of realism culminates in the work of Albers&#8217; protege <strong>William Bailey<\/strong>. His paintings exhibit a weird, contradictory Puritan passion. They are nearly as formalist \u2014 that is, devoid of meaning and reference \u2014 as an Albers homage to a square.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"478\" height=\"477\" data-attachment-id=\"1652\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/elements\/william-bailey\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/william-bailey.jpg\" data-orig-size=\"478,477\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;Walter Robinson&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;1333403290&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"william-bailey\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/william-bailey.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/william-bailey.jpg\" alt=\"\" class=\"wp-image-1652\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/william-bailey.jpg 478w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/william-bailey-300x299.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/william-bailey-150x150.jpg 150w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/william-bailey-100x100.jpg 100w\" sizes=\"auto, (max-width: 478px) 100vw, 478px\" \/><figcaption class=\"wp-element-caption\"><em>William Bailey,&nbsp;Rose Alba,&nbsp;2012<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Surrealism\"><\/span>Surrealism<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p>The strain of realism flowing out of Renaissance perspective gave artists the ability to create illusions of objects or spaces, true. Yet some artists, notably the Surrealists, use traditional realist techniques in decidedly non-traditional ways, exploring the eye of the subconscious rather than the waking state.<\/p>\n\n\n\n<p>Surrealism is not just a Twentieth Century art historical phenomenon. Like Realism, it has roots that extend far earlier than its &#8220;official&#8221; kickoff in the 1920s with Andre Breton&#8217;s Surrealist Manifesto, and far beyond its &#8220;official&#8221; death in 1941.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Renaissance_%E2%80%9Csurrealism%E2%80%9D\"><\/span>Renaissance &#8220;surrealism&#8221;<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>The divine fantasy world of <strong>Hieronymus Bosch<\/strong>, a Dutch painter whose most notable works found their way to the Museo del Prado in Madrid, Spain, inspired the Spanish Surrealists. Salvador Dali and his colleagues considered Bosch the first &#8220;modern&#8221; painter and recognized in him a kindred spirit across the centuries.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"455\" data-attachment-id=\"1841\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/alternate-realities\/the_garden_of_earthly_delights_by_bosch_high_resolution\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/The_Garden_of_Earthly_Delights_by_Bosch_High_Resolution.jpg\" data-orig-size=\"800,455\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"The_Garden_of_Earthly_Delights_by_Bosch_High_Resolution\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/The_Garden_of_Earthly_Delights_by_Bosch_High_Resolution.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/The_Garden_of_Earthly_Delights_by_Bosch_High_Resolution.jpg\" alt=\"\" class=\"wp-image-1841\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/The_Garden_of_Earthly_Delights_by_Bosch_High_Resolution.jpg 800w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/The_Garden_of_Earthly_Delights_by_Bosch_High_Resolution-300x171.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/The_Garden_of_Earthly_Delights_by_Bosch_High_Resolution-768x437.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/><figcaption class=\"wp-element-caption\"><em>&nbsp;Hieronymus Bosch,&nbsp;The Garden of Earthly Delights,&nbsp;c. 1495\u20131505<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Commissioned by Holy Roman Emperor Maximilian II, the painting series <strong>The Four Elements<\/strong> by Guiseppe Arcimboldo develops not only an allegory of <strong>Earth<\/strong>, <strong>Air<\/strong>, <strong>Fire<\/strong>, and <strong>Water<\/strong> but also a metaphor for order brought out of chaos by the Empire. While the fish in Water are less synthetically distorted than Bosch&#8217;s hellscape, the &#8220;collage&#8221; mentality with which they are put together presages pre-Surrealist Dada works by Raoul Haussman and Hannah Hoch.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"377\" height=\"500\" data-attachment-id=\"1842\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/alternate-realities\/archimboldo\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/archimboldo.jpg\" data-orig-size=\"377,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"archimboldo\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/archimboldo.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/archimboldo.jpg\" alt=\"\" class=\"wp-image-1842\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/archimboldo.jpg 377w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/archimboldo-226x300.jpg 226w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/archimboldo-300x398.jpg 300w\" sizes=\"auto, (max-width: 377px) 100vw, 377px\" \/><figcaption class=\"wp-element-caption\"><em>Giuseppe Arcimboldo,<\/em> <em>Water, from The Four Elements,<\/em> <em>1566<\/em><br><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Modern_surrealism\"><\/span>Modern surrealism<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>Leaning into Bosch&#8217;s penchant for synthesis, Belgian painter <strong>Rene Magritte<\/strong> did not need to rely on the world of hallucinations in the manner of the typical Surrealist. The real world, seen through the filter of the pre-conscious (the state just before, and during, waking up), was enough. His directness of transformation is what makes his work as poetic as it is disarming, as tranquil as it is alarming.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"562\" height=\"746\" data-attachment-id=\"2957\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/fabbing-looking-glass\/magritte_the_explanation_1954\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/Magritte_The_Explanation_1954.jpg\" data-orig-size=\"562,746\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Magritte_The_Explanation_1954\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/Magritte_The_Explanation_1954.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/Magritte_The_Explanation_1954.jpg\" alt=\"\" class=\"wp-image-2957\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/Magritte_The_Explanation_1954.jpg 562w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/Magritte_The_Explanation_1954-226x300.jpg 226w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/Magritte_The_Explanation_1954-300x398.jpg 300w\" sizes=\"auto, (max-width: 562px) 100vw, 562px\" \/><figcaption class=\"wp-element-caption\"><em>Rene Magritte, The Explanation, 1954<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Rumors of Surrealism&#8217;s demise are greatly exaggerated when one encounters the murals of <strong>Alexis Rockman<\/strong>. Combining Surrealist strategies of juxtaposition, visual metaphor, and formal synthesis with contemporary ecological concerns, <strong>The Farm<\/strong> envisions a world where genetic engineering makes agriculture a Surrealist landscape made real.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"957\" height=\"768\" data-attachment-id=\"1844\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/alternate-realities\/alexis_rockman_the_farm\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/alexis_rockman_the_farm.jpg\" data-orig-size=\"957,768\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"alexis_rockman_the_farm\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/alexis_rockman_the_farm.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/alexis_rockman_the_farm.jpg\" alt=\"\" class=\"wp-image-1844\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/alexis_rockman_the_farm.jpg 957w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/alexis_rockman_the_farm-300x241.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/alexis_rockman_the_farm-768x616.jpg 768w\" sizes=\"auto, (max-width: 957px) 100vw, 957px\" \/><figcaption class=\"wp-element-caption\"><em>Alexis Rockman, The Farm, 2000<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Photorealism\"><\/span>Photorealism<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p>What distinguishes the practice of Photorealism from garden variety Realism is the use of the photograph as a subject, rather than drawing from observation. Thus, the Photorealist is depicting an already mediated reality. In the 1960s and 70s, this strategy came under critical fire, although it can be argued that a tradition of using mechanical aids for observation started 300 years beforehand.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Camera_obscura\"><\/span>Camera obscura<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>The <strong>camera obscura<\/strong> (a Latin phrase meaning &#8220;room of darkness&#8221; or &#8220;dark room&#8221;) was a box with a pinhole, refined with the addition of lenses and screens in the mid-1600s to the degree that it became small enough to be portable. According to artist&nbsp;<a href=\"https:\/\/en.wikipedia.org\/wiki\/Hockney%E2%80%93Falco_thesis\" target=\"_blank\" rel=\"noreferrer noopener\">David Hockney<\/a>, physicist&nbsp;<a href=\"https:\/\/en.wikipedia.org\/wiki\/Hockney%E2%80%93Falco_thesis\" target=\"_blank\" rel=\"noreferrer noopener\">Charles Falco<\/a>,&nbsp;and historian&nbsp;<a href=\"http:\/\/www.vermeerscamera.co.uk\/home.htm\" target=\"_blank\" rel=\"noreferrer noopener\">Philip Steadman<\/a>,&nbsp;artists like <strong>Jan Vermeer<\/strong> began using tools like the camera obscura to refine their depiction of realistic scenes.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1947\" height=\"1277\" data-attachment-id=\"7833\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/camobs\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/camobs.jpg\" data-orig-size=\"1947,1277\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"camobs\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/camobs-1024x672.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/camobs.jpg\" alt=\"\" class=\"wp-image-7833\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/camobs.jpg 1947w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/camobs-300x197.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/camobs-1024x672.jpg 1024w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/camobs-768x504.jpg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/camobs-1536x1007.jpg 1536w\" sizes=\"auto, (max-width: 1947px) 100vw, 1947px\" \/><figcaption class=\"wp-element-caption\"><em>Johannes Zahn, Reflex Camera Obscura, 1685<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1186\" height=\"1024\" data-attachment-id=\"7668\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-15-metaphors-to-photography\/1186px-jan_vermeer_van_delft_-_the_glass_of_wine_-_google_art_project\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/1186px-Jan_Vermeer_van_Delft_-_The_Glass_of_Wine_-_Google_Art_Project.jpg\" data-orig-size=\"1186,1024\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"1186px-Jan_Vermeer_van_Delft_-_The_Glass_of_Wine_-_Google_Art_Project\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/1186px-Jan_Vermeer_van_Delft_-_The_Glass_of_Wine_-_Google_Art_Project-1024x884.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/1186px-Jan_Vermeer_van_Delft_-_The_Glass_of_Wine_-_Google_Art_Project.jpg\" alt=\"\" class=\"wp-image-7668\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/1186px-Jan_Vermeer_van_Delft_-_The_Glass_of_Wine_-_Google_Art_Project.jpg 1186w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/1186px-Jan_Vermeer_van_Delft_-_The_Glass_of_Wine_-_Google_Art_Project-300x259.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/1186px-Jan_Vermeer_van_Delft_-_The_Glass_of_Wine_-_Google_Art_Project-1024x884.jpg 1024w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/1186px-Jan_Vermeer_van_Delft_-_The_Glass_of_Wine_-_Google_Art_Project-768x663.jpg 768w\" sizes=\"auto, (max-width: 1186px) 100vw, 1186px\" \/><figcaption class=\"wp-element-caption\"><em>Jan Vermeer, The Glass of Wine, c. 1658-60<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"870\" height=\"1248\" data-attachment-id=\"7835\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/5-figure3-1\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/5-Figure3-1.png\" data-orig-size=\"870,1248\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"5-Figure3-1\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/5-Figure3-1-714x1024.png\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/5-Figure3-1.png\" alt=\"\" class=\"wp-image-7835\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/5-Figure3-1.png 870w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/5-Figure3-1-209x300.png 209w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/5-Figure3-1-714x1024.png 714w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/5-Figure3-1-768x1102.png 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/5-Figure3-1-300x430.png 300w\" sizes=\"auto, (max-width: 870px) 100vw, 870px\" \/><figcaption class=\"wp-element-caption\"><em><em>Philip Steadman, Diagram of Vermeer&#8217;s booth camera obscura in his studio, 2001<\/em><\/em><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1000\" height=\"1157\" data-attachment-id=\"7836\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/chapter-16-metaphors-to-cinema\/winec1000\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/wineC1000.jpg\" data-orig-size=\"1000,1157\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"wineC1000\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/wineC1000-885x1024.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/wineC1000.jpg\" alt=\"\" class=\"wp-image-7836\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/wineC1000.jpg 1000w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/wineC1000-259x300.jpg 259w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/wineC1000-885x1024.jpg 885w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/wineC1000-768x889.jpg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2024\/03\/wineC1000-300x347.jpg 300w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\" \/><figcaption class=\"wp-element-caption\"><em>Philip Steadman, Bird&#8217;s eye view of Vermeer&#8217;s studio set for paintin<\/em>g <em>The Glass of Wine, 2001<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Modern_photorealism\"><\/span>Modern photorealism<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>In Vija Celmin&#8217;s drawing <strong>Hiroshima<\/strong>, we are made conscious of the photographic origin of that city&#8217;s post-apocalyptic reality: an exaggerated, uneven border between the drawn image and the edge of the drawing, combined with the distressed &#8220;paper&#8221; of the photo suggests a clipping from a newspaper folded into a scrapbook, a memory of reality. Even the medium\u2014graphite\u2014becomes ambiguous, since the subject is a black-and-white photograph.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"600\" height=\"445\" data-attachment-id=\"1850\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/alternate-realities\/celmins-hiroshima\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/celmins-hiroshima.jpg\" data-orig-size=\"600,445\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"celmins-hiroshima\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/celmins-hiroshima.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/celmins-hiroshima.jpg\" alt=\"\" class=\"wp-image-1850\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/celmins-hiroshima.jpg 600w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/celmins-hiroshima-300x223.jpg 300w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\" \/><figcaption class=\"wp-element-caption\"><em>Vija Celmins, Hiroshima, 1968<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Less self-conscious of origin, but no less referencing photographic reality, Audrey Flack goes wild with texture, color, and disorienting reflections. In this manner, <strong>Wheel of Fortune (Vanitas)<\/strong> recalls the meticulous works of 17th Century Dutch still-life artists. The self-referential memento-like accumulation of objects, including photographs and other graphic material, creates a different, more personal memory of reality.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"300\" data-attachment-id=\"1851\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/alternate-realities\/flack\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/flack.jpg\" data-orig-size=\"300,300\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"flack\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/flack.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/flack.jpg\" alt=\"\" class=\"wp-image-1851\" style=\"width:400px;height:400px\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/flack.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/flack-150x150.jpg 150w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/flack-100x100.jpg 100w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><figcaption class=\"wp-element-caption\"><em>Audrey Flack, Wheel of Fortune (Vanitas), 1976-78<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Gerhard Richter, who is equally well-known for wild abstraction, created an iconic series of&nbsp;<strong>Kerze (Candle)<\/strong>&nbsp;paintings in the 1980s. The candle seems to illuminate not only the canvas but also the room occupied by the viewer. Rapid change over time requires that the observation of the subject occurs photographically. These meticulous paintings take far longer to complete than several candles meeting their demise!<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"480\" height=\"454\" data-attachment-id=\"1852\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/alternate-realities\/gerhard-richter-kerze-i-candle-i\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/gerhard-richter-kerze-i-candle-i.jpg\" data-orig-size=\"480,454\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"gerhard-richter-kerze-i-candle-i\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/gerhard-richter-kerze-i-candle-i.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/gerhard-richter-kerze-i-candle-i.jpg\" alt=\"\" class=\"wp-image-1852\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/gerhard-richter-kerze-i-candle-i.jpg 480w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/gerhard-richter-kerze-i-candle-i-300x284.jpg 300w\" sizes=\"auto, (max-width: 480px) 100vw, 480px\" \/><figcaption class=\"wp-element-caption\"><em>Gerhard Richter, Kerze I, 1988<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Hyperrealism\"><\/span>Hyperrealism<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p>Photorealism morphed into <strong>Hyperrealism<\/strong> with the advent of extreme high-resolution digital imaging techniques that brought more precision under the artist&#8217;s control than ever before. As Photorealists emulated chemical photography, Hyperrealists attempt to match or surpass the data of the digital image, creating a sense of a painting that is more real than real. While these works are not digital, they are about living in a digital age.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>The fetching condiment bottles painted by Ralph Goings are photographed, but the artist considers the photograph akin to a musical score, guiding the work but not compelling its interpretation.&nbsp;His <a href=\"https:\/\/www.npr.org\/sections\/pictureshow\/2009\/10\/photorealism.html\" target=\"_blank\" rel=\"noreferrer noopener\">interview linked here<\/a> gives insight into this Hyperreal mindset.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"500\" height=\"338\" data-attachment-id=\"1854\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/alternate-realities\/quartet_2006\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/quartet_2006.jpg\" data-orig-size=\"500,338\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"quartet_2006\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/quartet_2006.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/quartet_2006.jpg\" alt=\"\" class=\"wp-image-1854\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/quartet_2006.jpg 500w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/quartet_2006-300x203.jpg 300w\" sizes=\"auto, (max-width: 500px) 100vw, 500px\" \/><figcaption class=\"wp-element-caption\"><em>Ralph Goings, Quartet, 2006<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Presence_of_absence\"><\/span>Presence of absence<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>In Magda Torres Gurza&#8217;s tea set, we first see the beautiful rendering of reflection, then we start to notice the pits and scratches, a reality at first hidden by dazzling, polished metallic surfaces. As we do with the salt shaker in Goings&#8217; work, we observe the lens refraction (that six-pointed star) she renders in the highlight on the teapot lid. We also see a disturbing absence: the viewer (and even the viewer&#8217;s camera), ordinarily loudly present in such a close-up mirrored view, has been carefully edited out by the artist to avoid ambiguity of the subject such a presence would create. Because of that, there is no trompe-l&#8217;oeil ambition: there is no question one is looking at a constructed image, not the illusion of a projected reality.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"512\" data-attachment-id=\"1855\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/alternate-realities\/la_hora_del_te\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/La_hora_del_te.jpg\" data-orig-size=\"800,512\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"La_hora_del_te\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/La_hora_del_te.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/La_hora_del_te.jpg\" alt=\"\" class=\"wp-image-1855\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/La_hora_del_te.jpg 800w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/La_hora_del_te-300x192.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/La_hora_del_te-768x492.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/><figcaption class=\"wp-element-caption\"><em>Magda Torres Gurza, La hora del&nbsp;t\u00e9, 2015<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"CGI\"><\/span>CGI<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p>Computer graphic imagery, or CGI, more often than not has mimetic ambitions. However, the digital artist&#8217;s relationship to realist, surrealist, photorealist, hyperrealist, or trompe l&#8217;oeil traditions is largely a philosophical one, based on motivation for doing the work.<\/p>\n\n\n\n<p>In the case of Skidmore, Owings and Merrill&#8217;s architectural rendering of <strong>One World Trade Center<\/strong>, modeling and digital photomontage techniques generate a decidedly trompe-l&#8217;oeil image. For the sake of argument, compare the architect&#8217;s rendering with the real-life outcome \u2014 wherein the developer cut the white antenna sheath for cost reasons. &#8220;I try not to get involved with the aesthetics&#8221; is the spurious cop-out by developer David Durst, <a href=\"https:\/\/archive.nytimes.com\/cityroom.blogs.nytimes.com\/2012\/05\/09\/world-trade-centers-symbolic-1776-foot-height-is-at-stake-in-a-redesign\/\" target=\"_blank\" rel=\"noreferrer noopener\">as if any such decision is devoid of any aesthetic ramification<\/a>.<\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"259\" height=\"500\" data-attachment-id=\"1856\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/alternate-realities\/freedomtowerrendering\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/freedomtowerrendering.jpg\" data-orig-size=\"259,500\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"freedomtowerrendering\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/freedomtowerrendering.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/freedomtowerrendering.jpg\" alt=\"\" class=\"wp-image-1856\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/freedomtowerrendering.jpg 259w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/freedomtowerrendering-155x300.jpg 155w\" sizes=\"auto, (max-width: 259px) 100vw, 259px\" \/><figcaption class=\"wp-element-caption\"><em>David Childs + SOM, One World Trade Center (a.k.a Freedom Tower), rendering 2009&#8230;<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"450\" height=\"600\" data-attachment-id=\"1857\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/alternate-realities\/freedom_tower_world_trade_center_nyc\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/Freedom_Tower_World_Trade_Center_NYC.jpg\" data-orig-size=\"450,600\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"Freedom_Tower_World_Trade_Center_NYC\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/Freedom_Tower_World_Trade_Center_NYC.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/Freedom_Tower_World_Trade_Center_NYC.jpg\" alt=\"\" class=\"wp-image-1857\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/Freedom_Tower_World_Trade_Center_NYC.jpg 450w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/Freedom_Tower_World_Trade_Center_NYC-225x300.jpg 225w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/Freedom_Tower_World_Trade_Center_NYC-300x400.jpg 300w\" sizes=\"auto, (max-width: 450px) 100vw, 450px\" \/><figcaption class=\"wp-element-caption\"><em>&#8230; compared to a photo of the final product in late 2013<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<p>Concerning cinematic or gaming CGI&#8230; well, it depends. In the amazingly detailed virtual set of Ridley Scott&#8217;s <strong>Gladiator<\/strong>, while we are impressed with the computer graphic imagery, we certainly aren&#8217;t fooled into thinking this is <strong>actually<\/strong> Rome. On the other hand, how many times has CGI <a href=\"https:\/\/fstoppers.com\/bts\/best-cgi-movies-not-when-you-dont-see-it-rather-when-you-dont-expect-it-233064\" target=\"_blank\" rel=\"noreferrer noopener\">slipped under your radar in a film depicting a contemporary scene<\/a>? If you didn&#8217;t notice, they fooled your eye!<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"400\" height=\"300\" data-attachment-id=\"1858\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/alternate-realities\/gladiator\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/gladiator.jpg\" data-orig-size=\"400,300\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"gladiator\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/gladiator.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/gladiator.jpg\" alt=\"\" class=\"wp-image-1858\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/gladiator.jpg 400w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/gladiator-300x225.jpg 300w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\" \/><figcaption class=\"wp-element-caption\"><em>Ridley Scott, Gladiator, 2000<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Cybrids_Mixed_reality\"><\/span>Cybrids: Mixed reality<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p>In 2004, architect and media theoretician Peter Anders noted that designers (and by extension, I will infer artists) use a range of digital tools including modeling, virtual reality, networked collaboration, and digital fabrication, to which list we can add tools like augmented reality and projection mapping. Anders elaborated:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p><em>Common to all these is the use of a digital database and a means for its manifestation. Such manifestation varies by technique. With VR the manifestation is symbolic, an interactive display of spatial objects, while with digital fabrication it is physical artifacts produced by digital lathing or stereolithography. The database shared by such manifestations is an abstract constituents of a project\u2014one that effects its materialization. The interdependence of digital and material elements places such projects within the domain of mixed reality, a field of research that combines digital entities with physical settings or artifacts. The causative nature of the &#8230; database, however, calls for the identification of a special class of objects that hybridize the material and virtual aspects of their being within one composition. We refer to these entities as <strong>cybrids<\/strong>.<\/em><\/p>\n<cite>Peter Anders<\/cite><\/blockquote>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"A_cybrid_gestalt\"><\/span>A cybrid gestalt<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>Anders formulated three spheres \u2014 <strong>Environments<\/strong>, <strong>Behaviors<\/strong>, and <strong>Experience<\/strong> \u2014 that harbor seven principles for the creation of cybrids, including:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li><strong>Comprehensive Space<\/strong>: Cybrids exist in a comprehensive space that comprises the material, symbolic, and cognitive attributes of spatial experience.<\/li>\n\n\n\n<li><strong>Composition<\/strong>: Cybrids are mixed-reality compositions that comprise material and simulated elements.<\/li>\n\n\n\n<li><strong>Corroboration<\/strong>: Cybrids offer a range of empirical modes that corroborate one another to a determined degree [sound, for example, correlates to action in a movie or game].<\/li>\n\n\n\n<li><strong>Reciprocity<\/strong>: There is reciprocity between a cybrid\u2019s physical and cyberspaces such that actions in one domain may affect the other.&nbsp;<\/li>\n\n\n\n<li><strong>Extension<\/strong>: Cybrids provide users with a coherent spatial environment that extends their awareness beyond the concrete world to a dimensionally rich, mediated space.<\/li>\n\n\n\n<li><strong>Social Context<\/strong>: Cybrids provide an extended social space.<\/li>\n\n\n\n<li><strong>Anthropic Design<\/strong>: Cybrids shall be designed to augment their users\u2019 innate use of space to think, communicate, and experience their world.<\/li>\n<\/ul>\n\n\n\n<p>Much of what Anders can only speculate about in his pre-iPhone essay \u2014 the rise of social media as a virtual space, massive multiplayer gaming, and augmented reality \u2014 now makes up our new, mixed reality. While his essay is redolent of a digital utopianism that must be tempered by current experience \u2014 from &#8220;fake news&#8221; to the commodification of personal data \u2014 these principles create a kind of gestalt which, if employed by artists and designers, can guide the design of mixed realities. One might only speculate how the world would look had Facebook been attentive to, say, Anders&#8217; <strong>reciprocity<\/strong> or <strong>anthropic design<\/strong>, for example. Let&#8217;s explore some case studies.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column has-background is-layout-flow wp-block-column-is-layout-flow\" style=\"background-color:#eeeeee\">\n<div class=\"wp-block-columns has-background is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\" style=\"background-color:#eeeeee\">\n<div class=\"wp-block-column has-background is-layout-flow wp-block-column-is-layout-flow\" style=\"background-color:#eeeeee\">\n<p class=\"has-text-align-center\"><strong>A SMALL COMPENDIUM OF CYBRIDS<\/strong>:<\/p>\n\n\n\n<hr class=\"wp-block-separator has-text-color has-white-color has-alpha-channel-opacity has-white-background-color has-background\"\/>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"365\" height=\"273\" data-attachment-id=\"1860\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/alternate-realities\/first-down-line\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/First-down-line.jpg\" data-orig-size=\"365,273\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"First-down-line\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/First-down-line.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/First-down-line.jpg\" alt=\"\" class=\"wp-image-1860\" style=\"width:400px;height:undefinedpx\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/First-down-line.jpg 365w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/First-down-line-300x224.jpg 300w\" sizes=\"auto, (max-width: 365px) 100vw, 365px\" \/><figcaption class=\"wp-element-caption\"><em>The <a href=\"https:\/\/en.wikipedia.org\/wiki\/1st_%26_Ten_(graphics_system)\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>1st&amp;Ten graphics system<\/strong><\/a> magically paints a down line on a televised gridiron<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n<hr class=\"wp-block-separator has-text-color has-white-color has-alpha-channel-opacity has-white-background-color has-background\"\/>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"400\" height=\"220\" data-attachment-id=\"1861\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/alternate-realities\/rogerrabbit\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/rogerrabbit.gif\" data-orig-size=\"400,220\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"rogerrabbit\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/rogerrabbit.gif\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/rogerrabbit.gif\" alt=\"\" class=\"wp-image-1861\"\/><figcaption class=\"wp-element-caption\"><em><strong>Toons <\/strong>live in the real world in<\/em><br><em><strong>Who Framed Roger Rabbit?<\/strong><\/em><\/figcaption><\/figure>\n<\/div>\n\n\n<hr class=\"wp-block-separator has-text-color has-white-color has-alpha-channel-opacity has-white-background-color has-background\"\/>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"602\" data-attachment-id=\"1862\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/alternate-realities\/koons-jpg-1024x602-1\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/koons-jpg-1024x602-1.jpg\" data-orig-size=\"1024,602\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"koons-jpg-1024&amp;#215;602-1\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/koons-jpg-1024x602-1.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/koons-jpg-1024x602-1.jpg\" alt=\"\" class=\"wp-image-1862\" style=\"width:400px;height:undefinedpx\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/koons-jpg-1024x602-1.jpg 1024w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/koons-jpg-1024x602-1-300x176.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/koons-jpg-1024x602-1-768x452.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\"><em>Jeff Koons&#8217; <\/em><strong><em>balloon dog<\/em><\/strong><em> in<br><strong>Snapchat&#8217;s<\/strong> augmented reality<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n<hr class=\"wp-block-separator has-text-color has-white-color has-alpha-channel-opacity has-white-background-color has-background\"\/>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"500\" height=\"462\" data-attachment-id=\"1863\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/alternate-realities\/oursler\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/oursler.jpg\" data-orig-size=\"500,462\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"oursler\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/oursler.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/oursler.jpg\" alt=\"\" class=\"wp-image-1863\" style=\"width:400px;height:undefinedpx\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/oursler.jpg 500w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/oursler-300x277.jpg 300w\" sizes=\"auto, (max-width: 500px) 100vw, 500px\" \/><figcaption class=\"wp-element-caption\"><em><strong>Tony Oursler&#8217;s <\/strong>projection-mapped sculptures<\/em><br><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Virtual_Reality\"><\/span>Virtual Reality<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>Despite the sometimes clumsy limitations the medium imposes, so aptly described by <a href=\"https:\/\/garage.vice.com\/en_us\/article\/gyw7xw\/is-virtual-reality-art-the-real-deal\" target=\"_blank\" rel=\"noreferrer noopener\">Hettie Judah in her Garage article<\/a>, VR is attracting artists.&nbsp;On the utopian side, watch the reactions of artists <a href=\"http:\/\/time.com\/vr-is-for-artists\/\" target=\"_blank\" rel=\"noreferrer noopener\">introduced to Google&#8217;s Tilt Brush<\/a>, a means of painting in three dimensions.<\/p>\n\n\n\n<p>Reactions of a more notorious kind were received by Jordan Wolfson&#8217;s virtual reality installation at the 2017 Whitney Biennial titled <strong>Real Violence<\/strong>. This work came not only with an age restriction, but a trigger warning, both very rare in the art world. <a href=\"https:\/\/www.newyorker.com\/culture\/cultural-comment\/confronting-the-shocking-virtual-reality-artwork-at-the-whitney-biennial\" target=\"_blank\" rel=\"noreferrer noopener\">Read about the work at New Yorker<\/a>.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"576\" data-attachment-id=\"1867\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/alternate-realities\/wolfson1\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/wolfson1.jpg\" data-orig-size=\"2560,1440\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"wolfson1\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/wolfson1-1024x576.jpg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/wolfson1-1024x576.jpg\" alt=\"\" class=\"wp-image-1867\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/wolfson1-1024x576.jpg 1024w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/wolfson1-300x169.jpg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/wolfson1-768x432.jpg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/wolfson1-1536x864.jpg 1536w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/wolfson1-2048x1152.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\"><em>Jordan Wolfson, still from Real Violence, 2017<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Augmented_reality\"><\/span>Augmented reality<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<p>Augmented reality allows a mobile or tablet device to function as a frame that can superimpose computer-generated imagery onto the user&#8217;s view of the real world. Commercial applications aside, this has opened the door to a world of augmented reality sculpture, installation, and performance.<\/p>\n\n\n\n<p>A good example is the above-mentioned Jeff Koons&#8217; collaboration with Snapchat&#8217;s augmented reality feature. How can his balloon dog arrive in Central Park? He &#8220;projects&#8221; the sculpture, really a model in a database, into the park via geolocation coordinates.<\/p>\n\n\n\n<p>What is interesting about geolocation is that, for the time being at least, no one can &#8220;own&#8221; a virtual space the way they can own real estate. Wary of corporate art monetization schemes, graffiti artist <strong>Sebastien&nbsp;Errazuriz<\/strong> collaborated with <strong>Cross Lab Studio<\/strong> in an act of cyber-punk resistance to raise questions about the phenomenon by virtually tagging the balloon dog.&nbsp;&nbsp;<a href=\"https:\/\/techcrunch.com\/2017\/10\/08\/jeff-koons-augmented-reality-snapchat-artwork-gets-vandalized\/\" target=\"_blank\" rel=\"noreferrer noopener\">Read about it at Techcrunch<\/a>.<\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"990\" height=\"690\" data-attachment-id=\"1868\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/alternate-realities\/screen-shot-2017-10-08-at-1-19-20-pm\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/screen-shot-2017-10-08-at-1-19-20-pm.png\" data-orig-size=\"990,690\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"screen-shot-2017-10-08-at-1-19-20-pm\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/screen-shot-2017-10-08-at-1-19-20-pm.png\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/screen-shot-2017-10-08-at-1-19-20-pm.png\" alt=\"\" class=\"wp-image-1868\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/screen-shot-2017-10-08-at-1-19-20-pm.png 990w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/screen-shot-2017-10-08-at-1-19-20-pm-300x209.png 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/screen-shot-2017-10-08-at-1-19-20-pm-768x535.png 768w\" sizes=\"auto, (max-width: 990px) 100vw, 990px\" \/><figcaption class=\"wp-element-caption\"><em>Sebastien Errazuriz and Cross Lab Studio, untitled work, 2017&nbsp;<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<h3 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Digital_fabrication\"><\/span>Digital fabrication<span class=\"ez-toc-section-end\"><\/span><\/h3>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-vertically-aligned-center is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"708\" height=\"1024\" data-attachment-id=\"1869\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/alternate-realities\/paolo_uccello_studio_di_vaso_in_prospettiva_02\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/Paolo_uccello_studio_di_vaso_in_prospettiva_02.jpeg\" data-orig-size=\"1175,1700\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"Paolo_uccello_studio_di_vaso_in_prospettiva_02\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/Paolo_uccello_studio_di_vaso_in_prospettiva_02-708x1024.jpeg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/Paolo_uccello_studio_di_vaso_in_prospettiva_02-708x1024.jpeg\" alt=\"\" class=\"wp-image-1869\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/Paolo_uccello_studio_di_vaso_in_prospettiva_02-708x1024.jpeg 708w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/Paolo_uccello_studio_di_vaso_in_prospettiva_02-207x300.jpeg 207w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/Paolo_uccello_studio_di_vaso_in_prospettiva_02-768x1111.jpeg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/Paolo_uccello_studio_di_vaso_in_prospettiva_02-1062x1536.jpeg 1062w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/Paolo_uccello_studio_di_vaso_in_prospettiva_02-300x434.jpeg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/Paolo_uccello_studio_di_vaso_in_prospettiva_02.jpeg 1175w\" sizes=\"auto, (max-width: 708px) 100vw, 708px\" \/><figcaption class=\"wp-element-caption\"><em>Paolo Uccello, ca. 1450<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-vertically-aligned-center is-layout-flow wp-block-column-is-layout-flow\">\n<div style=\"height:40px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"540\" height=\"540\" data-attachment-id=\"1870\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/alternate-realities\/uccello_chalice_build_green-e1683318510515\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/uccello_chalice_build_green-e1683318510515.png\" data-orig-size=\"540,540\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"uccello_chalice_build_green-e1683318510515\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/uccello_chalice_build_green-e1683318510515.png\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/uccello_chalice_build_green-e1683318510515.png\" alt=\"\" class=\"wp-image-1870\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/uccello_chalice_build_green-e1683318510515.png 540w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/uccello_chalice_build_green-e1683318510515-300x300.png 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/uccello_chalice_build_green-e1683318510515-150x150.png 150w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/uccello_chalice_build_green-e1683318510515-100x100.png 100w\" sizes=\"auto, (max-width: 540px) 100vw, 540px\" \/><figcaption class=\"wp-element-caption\"><br><br><em>Angela Eames, ca. 2004<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-vertically-aligned-center is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"768\" height=\"1024\" data-attachment-id=\"1871\" data-permalink=\"https:\/\/williamcromar.com\/newmediawiki\/alternate-realities\/chalice01\/\" data-orig-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/chalice01.jpeg\" data-orig-size=\"1600,2133\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"chalice01\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/chalice01-768x1024.jpeg\" src=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/chalice01-768x1024.jpeg\" alt=\"\" class=\"wp-image-1871\" srcset=\"https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/chalice01-768x1024.jpeg 768w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/chalice01-225x300.jpeg 225w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/chalice01-1152x1536.jpeg 1152w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/chalice01-1536x2048.jpeg 1536w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/chalice01-300x400.jpeg 300w, https:\/\/williamcromar.com\/newmediawiki\/wp-content\/uploads\/2023\/08\/chalice01.jpeg 1600w\" sizes=\"auto, (max-width: 768px) 100vw, 768px\" \/><figcaption class=\"wp-element-caption\"><em>williamCromar, 2022<\/em><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<p>As technologies become affordable, laser-cutting, 3D printing and the like have begun to make inroads into everyday crafting and making. It&#8217;s no longer exceptional to see an object printed from <a href=\"https:\/\/www.thingiverse.com\/\" target=\"_blank\" rel=\"noreferrer noopener\">Thingiverse<\/a> or laser-cut puzzles sold by artists on <a href=\"https:\/\/www.etsy.com\/\" target=\"_blank\" rel=\"noreferrer noopener\">Etsy<\/a>. The know-how for vector drawing and 3D modeling becomes the only barrier to entry for making digital objects into analog stuff.<\/p>\n\n\n\n<p>In his 2003 book <strong>Architecture in the Digital Age<\/strong>, designer Branko Kolarevic discusses the rise of &#8220;smooth architectures&#8221; and the ease with which digital fabbing tools can create complex curving forms in industrial-designed objects. He argues that, although Baroque design and the expressive curves of Alvar Aalto are precedents, this is something new:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p><em>Why this sudden interest and fascination with &#8220;blobby&#8221; forms? Three dimensional digital modeling software based on NURBS &#8230; has opened a universe of complex forms that were, until the appearance of CAD\/CAM technologies, very difficult to conceive, develop and represent, let alone manufacture. A new formal universe in turn prompted a search for new tectonics that would make the new, undulating, sinuous skins buildable (within reasonable budgets).<\/em><\/p>\n<cite>Branko Kolarevic<\/cite><\/blockquote>\n\n\n\n<p>That last bit is important because as the economies of these complex forms become less onerous, &#8220;infinite variability becomes as feasible as modularity&#8221; and &#8221; mass-customization presents alternatives to mass production.&#8221;<\/p>\n\n\n\n<p>Exciting yes, but a decade later, <a href=\"https:\/\/www.australiandesignreview.com\/architecture\/tolerance-and-customisation-a-question-of-value\/\" target=\"_blank\" rel=\"noreferrer noopener\">Michael Parsons cautions us<\/a> to consider the aesthetic ramifications of complexity for the sake of complexity. He argues:<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p><em>As the skill in achieving complex forms decreases, so does our societal value of complex formal outcomes. Maybe we need to revaluate our perception of difference, in other words our tolerance for complex design. We need to consider that what were two very different outcomes in the past are now only differentiated by one factor, aesthetics and not skill.<\/em><\/p>\n<cite>Michael Parsons<\/cite><\/blockquote>\n\n\n\n<p>Consider these competing visions of enthusiasm and caution as we embark on fabricating a component of our project.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Back to&#8230; 3D | plane &gt; volume 3 | elements altRealities Will the real Real please stand up? In 1968, Michel Foucault wrote a small book, or perhaps a long essay, called Ceci n&#8217;est pas une pipe (in English, This is Not a Pipe). There he ruminates on a drawing by Ren\u00e9 Magritte. This drawing&#8230; <a href=\"https:\/\/williamcromar.com\/newmediawiki\/alternate-realities\/\">read more &raquo;<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_eb_attr":"","_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[4,10],"tags":[],"class_list":["post-1828","post","type-post","status-publish","format-standard","hentry","category-3d-modeling","category-references"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Alternate realities - newMediaWiki<\/title>\n<meta name=\"description\" content=\"Alternate realities: Realism, Surrealism, Photorealism, Hyperrealism, VR, AR, CGI, digital fabrication... will the real Real please stand up?\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/williamcromar.com\/newmediawiki\/alternate-realities\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Alternate realities - 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