[Abstract]
"In this age of stunning technological imagery, the default method for its creation has become computer generated graphics. This realm, however, is limited by pixel counts and compression ratios. Lumia, in its completely analog means of image generation, does not cheat the eye of any information and like watching a sunset, the mind perceives a difference" (David Miller).
My presentation will address the ability and aspects of a well engineered Lumia "projector" to provide entry to, and journeys through realms not accessible by any other means. And in doing so, illicit statements from established 'digital domain artists' like the ones above. Lumia visualizes events unfolding on a seemingly cosmic scale and can depict visual phenomena that feels 'out of this world.' These artistic attributes continue to inspire me to engineer brighter systems with increased image resolution, because the more intricate textural details can be revealed, the more wondrous the journey!
[Speaker Bio]
Technology has always provided Gregg Stephens the medium for his creativity. His first techo/artistic design, a working illuminating telephone, was instrumental in his leaving small town Colorado for Hollywood, CA and the music recording industry. As a studio technician, Gregg’s attention was on the constant alignment and maintenance of the beautifully engineered professional electronic equipment. In association with brilliant, passionate individuals, the daily goal was the pursuit of excellence in audio and trying to emotionally move an audience through technological means.
With creative drive as strong as his technical skills, Stephens began experimentation on a light sculpture he had been dreaming about since childhood. This completed piece helped him secure a position as a special effects designer with Walt Disney Imagineering. Designing effects for Disneyland, Tokyo Disneyland and EPCOT allowed Stephens to hone old skills and acquire new ones, preparing Gregg to open his own design company after leaving Disney. This began parallel careers with his continued development of light based fine art and special effects design, direction and fabrication for theme parks and museums worldwide.
The art eventually took precedence and Gregg left the hustle of Los Angeles and the entertainment industry for the more inspiring surroundings of Santa Fe, NM. There he created his largest body of work with just occasional outside projects tailored more to his technological interpretations of nature: a fiber optic star field for the Kennedy Space Center, an artificial fire for the President Lincoln Museum and the engineering design model for a project Gregg’s patented artwork inspired at Disney's EPCOT Center.
Gregg now calls southern Oregon home and is seeking inspiration in his new surroundings.
"In this age of stunning technological imagery, the default method for its creation has become computer generated graphics. This realm, however, is limited by pixel counts and compression ratios. Lumia, in its completely analog means of image generation, does not cheat the eye of any information and like watching a sunset, the mind perceives a difference" (David Miller).
My presentation will address the ability and aspects of a well engineered Lumia "projector" to provide entry to, and journeys through realms not accessible by any other means. And in doing so, illicit statements from established 'digital domain artists' like the ones above. Lumia visualizes events unfolding on a seemingly cosmic scale and can depict visual phenomena that feels 'out of this world.' These artistic attributes continue to inspire me to engineer brighter systems with increased image resolution, because the more intricate textural details can be revealed, the more wondrous the journey!
[Speaker Bio]
Technology has always provided Gregg Stephens the medium for his creativity. His first techo/artistic design, a working illuminating telephone, was instrumental in his leaving small town Colorado for Hollywood, CA and the music recording industry. As a studio technician, Gregg’s attention was on the constant alignment and maintenance of the beautifully engineered professional electronic equipment. In association with brilliant, passionate individuals, the daily goal was the pursuit of excellence in audio and trying to emotionally move an audience through technological means.
With creative drive as strong as his technical skills, Stephens began experimentation on a light sculpture he had been dreaming about since childhood. This completed piece helped him secure a position as a special effects designer with Walt Disney Imagineering. Designing effects for Disneyland, Tokyo Disneyland and EPCOT allowed Stephens to hone old skills and acquire new ones, preparing Gregg to open his own design company after leaving Disney. This began parallel careers with his continued development of light based fine art and special effects design, direction and fabrication for theme parks and museums worldwide.
The art eventually took precedence and Gregg left the hustle of Los Angeles and the entertainment industry for the more inspiring surroundings of Santa Fe, NM. There he created his largest body of work with just occasional outside projects tailored more to his technological interpretations of nature: a fiber optic star field for the Kennedy Space Center, an artificial fire for the President Lincoln Museum and the engineering design model for a project Gregg’s patented artwork inspired at Disney's EPCOT Center.
Gregg now calls southern Oregon home and is seeking inspiration in his new surroundings.