It was only natural that we would eventually include art works inspired by the earliest examples of computer art. This post explains why it was inevitable and how we re-discovered the history of computer art.
We’re excited to feature some unique works by LA-based 25th Century art collaborative. To mark the inclusion of their works in the Klio collection, we interviewed them including an audio podcast.
It has been fascinating to watch the emergence of various digital art forms in the short time that Klio has been on the market. Indeed, we invented some of them and Klio is the only digital art device on the market that supports so many different forms of digital art.
As we blogged before, an early favorite of ours was the so-called “Low-poly” art form that one might argue is part of the “brutal design” trend, or its wider intent, which seeks to shun the design and aesthetic cliches that tend to make all products look like Apple clones.
Continuing with the theme of geometry, we recently curated a Klio playlist featuring art works with various geometric forms.
We’re excited to feature some unique works by James Pricer. To mark the inclusion of his works in the Klio collection, we interviewed James including our first ever audio podcast.
James is a unique artist at the forefront of the emerging “Computational Art” movement, which in some ways is a reboot of the Computer Art movement that emerged from the mainframe era when there was a palpable relationship between data and aesthetic because we had to enter the era of photo-real CGI.
James has created 3 works especially for Klio based on data obtained from the Large Hadron Collider. We interviewed James about his approach to art and about these works in particular. The audio podcast goes into more depth and some of the more fundamental ideas conveyed in James’s work.
Working with James Pricer to create some unique works for Klio has been one of the highlights of the project thus far. This is because James’s artistry is truly digital, beginning with the art of interpreting data and culminating in the art of generating not only an aesthetic, but a digital tale of in many ways is a form of digital poetry.
Those of you lucky enough to own a Klio will get to enjoy the intended experience because James worked hard not only to create art, but to create art that is “made for” the kind of ambient digital decor experience that a device like Klio enables, somehow straddling the decorative utility of wall art and the mesmerizing quality of a well-made documentary.
The shorter bios that we include in the Klio interface don’t do justice to an artist like James, so what follows below is a more in-depth bio written by James himself.
The Klio team has been busy again with more upgrades and features. For those of you who want to control your Klio via any web browser, including mobile web (e.g. Android users), we have launched “My Klio”, which you can access via my.klioart.com
The Klio team has been busy again with more upgrades and features, many of them in the forthcoming 1.3 release.
But our most exciting update is the launch of what we are calling Episodic Art.
Alberto Glia is a digital artist living near Madrid, Spain. We first started working with him to help experiment with some of the novel art forms, like Morph Art, that we developed for Klio.
Since then, he has created an extensive collection of unique Klio works, so we decided to interview him as part of our quest to reveal the minds behind Klio art.
The interview references two new works that will shortly be available on Klio.
The Klio team has been so busy with upgrades and features that it’s hard to keep track ourselves, never mind share all the digital art goodness headed your way.
But aside from device features, our main goal is, and always will be, to brighten and stimulate Klio users’ lives with an evolving digital art experience.
This is the goal we set ourselves and remains at the heart of what we’re about, trying to create a portal or window from your wall to the world of contemporary digital art (much like the image above, which is a recent addition to the collection called “Blind”).
During the creation of Klio, we began to notice that many of the emerging digital art forms had begun to appear in TV title sequences, such as the subtle and brilliant use of “Cinemagraphs” in the titles for Sundance’s Rectify show.
Inspired by the double-exposure videography of the opening credits to “True Detective” we set about trying to create some pieces that pay homage to our favorite TV show.
Look closely and you will see cityscapes (arguably a “character” in the second series) that emerge from the double-exposure effects, just like in our piece below called “Noir.”