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Matricism and the Randall Technologies

Matricism and the Randall Technologies

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Published by Christianseidler
The technique used by Dr. John Randall to base the creation of a robotic paint brush.
The technique used by Dr. John Randall to base the creation of a robotic paint brush.

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Published by: Christianseidler on Apr 10, 2010
Copyright:Attribution Non-commercial

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08/24/2010

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Matricism and the Randall Technologies
In 1959, Jean Tinguely (Swiss, born 1925designed a painting machine which hecalled “Metamatic-Automobile-Odorante etSonore.” This machine, in the artist’sperception, was a statement about theultimate status of the artist as AbstractExpressionism and Action Paintingdominated the art world in the 1940s and1950s. Although created as a spoof,Tinguely’s art/invention/manifesto asreceived at the lst Biennal of Paris, where itproduced over 40,000 “AbstractExpressionistic” paintings, made a strong statement where art stood at the middle of the20th Century, that is: the ultimate elimination of the painter.Twentieth century art has been dominated by the concept of “isms”. As artists issuedtheir manifestoes, proposed their panaceas and formulated their schisms, a Pandora’s boxof gospels have issued forth from the artists’ studios, such as constructivism, dynamism,intimism, orphism, parallelism, purism, suprematism, synthetism and vorticism. Itbecame evident in the 20th Century that the act of creating and the printedword/manifesto, as issued by the artist to explain his creation or rendering, replaced theimportance of the object created. The visual and verbal statement by the artist (prophet?became an ideologue of unilateral existentialism.The temple of change was such that the span of time between artistic innovations andtheir understandings and popular acceptance is often referred to as “cultural lag.” Thus,Tinguely’s 1959 machine, although a spoof about the status of the artist, nevertheless,was insightful and challenged the perception of the artist and Abstract Expressionism forthat time period, especially the direction of the visual art culture. The technologicaladvances have led to even greater artistic potential innovations. One has to ask oneself,“What is the role of the artist with the advancement of technology along with theuniversal use of the computer, the advanced software and of course the world wide web?”Tinguely made his statement and interpretation in 1959. Is that statement stillappropriate? Has the artistic, world audience and consumer accepted Tinguely’smanifesto or does this audience, more attuned to modern technological breakthroughs andbridging the ‘cultural gap’, embrace the artist and bravely follow the pursuit of innovation?Christian Seidler (American, born 1951) with his manifesto of Matricism and theinvention of the “Randall Plotter” machine, along with advanced computer software hascontinued within the developing pools of innovation of the 20th and 21st Centuries. Butin contrast to Tinguely, who showed his concern for the status of art and the role of the
 
 artist as a creative force, Seidler uses the “Randall Plotter” to take his art and theory to anew level. It is a fulfillment and completion of advanced color theory, heretofore onlyconceptualized and dreamed about. It allows for innovation, conceptualization andcreativity only dreamed about with past and contemporary masters.The color theories and ideas from Aristotle, through the Renaissance to Isaac Newton’sexperiments, through the color theories of the 19th Century theorists including Goethe tothe Neo-Impressionist Seurat, artists, philosophers, scientists and theorists attempted toforge a union between scientific analysis and poetic insight. It was Seurat who simplifiedhis quest: “Art is harmony.” This simplified definition of what art is and should be,allows for the debunking of manifesto. Instead, the viewer, audience and/or collector,with his/her limited or expanded understanding of art and technology can now contributeappreciation of contemporary art because of this expanded comprehension. In otherwords, contemporary culture embraces innovation, but innovation cannot just be verbalstatement. It has to employ technique; it must be innovative; and it has to be harmonious.The artistic audience of the present day is more attuned to what art is about, and does notrely strictly on artistic statement (manifesto).Over a hundred years ago, France was at the threshold of the modern era. The effects of the industrial revolution were unmistakable, as factories rose on the outskirts of Paris anda new urban working class developed. Technological progress brought obvious symbolslike the Eiffel Tower, but it also put many laborers and craftsmen out of work. The sameera that bred a new confidence in the achievements of science left many citizensdisillusioned with the established order and the position of the working man. Artists
 
 responded to their modern age with contemporary subject matter and a search for newpictorial modes. Academic values and the Impressionist sensibility persisted, but manypainters were exploring new methods—and fresh rationales—for their art. From thismilieu, Georges Seurat built the framework of the Neo-Impressionist aesthetic.Today, in the early years of the 21st Century, a new confidence has been projected inmodern man. This confidence is not unlike France at the fin de siecle. But it is thecomputer that is leading the charge. There is an exploratory confidence as the computerand the internet bring people, ideas and ideologies closer together. The disillusionmentportrayed by Tinguely’s painting machine of 1959, and the relationship of the artist to themachine driven has been reversed, for example, with Christian Siedler’s Matricism andthe invention of the “Randall Technologies.”Seidler’s Matricism brings to fruition, Seurat’s edicts plus the discipline of methodicallycomposing a painting. Coupled with the precision of execution of the artist’s design asdemonstrated by the “Randall Plotter”, an artist can explore and execute to a precisedegree the principles of color theory. Never before has the opportunity been available foran artist to explore minute color application without the debilitating effects of execution.Furthermore, the possibility for multiple designs or matrixes presents itself withoutexhausting the creative energies of the artist. A new world of expression has beenopened!

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