Char Davies

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Information about Char Davies
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Published on April 28, 2008

Author: Mark31889

Source: slideshare.net

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my first attempt of a power point presentation done for a class.

Char Davies

Biography Canadian artist Char Davies is internationally recognized for pioneering artworks using the technologies of virtual reality. She was also a founding director of a world-leading 3D software company. In 1987, she became a founding director of Softimage, the 3D software company whose intuitive design philosophy reconfigured the computer graphics industry . Originally a painter and filmmaker, Davies transitioned to digital media in the mid-80s when she began exploring three-dimensional computer imaging as a means of expanding depth beyond the picture plane. In 1993, Davies began exploring the emerging technology of virtual reality.

Canadian artist Char Davies is internationally recognized for pioneering artworks using the technologies of virtual reality. She was also a founding director of a world-leading 3D software company.

In 1987, she became a founding director of Softimage, the 3D software company whose intuitive design philosophy reconfigured the computer graphics industry .

Originally a painter and filmmaker, Davies transitioned to digital media in the mid-80s when she began exploring three-dimensional computer imaging as a means of expanding depth beyond the picture plane.

In 1993, Davies began exploring the emerging technology of virtual reality.

About Softimage Softimage held its initial public offering on NASDAQ in 1992 and was ultimately acquired by Microsoft. It was a company of software tools used for special effects in such landmark films as Jurassic Park. During her 10 years at the company—as its first vice-president (1988-1994) and director of visual research (1994-1997)—Davies began adapting the 3D software for her own artistic purposes.

Softimage held its initial public offering on NASDAQ in 1992 and was ultimately acquired by Microsoft. It was a company of software tools used for special effects in such landmark films as Jurassic Park.

During her 10 years at the company—as its first vice-president (1988-1994) and director of visual research (1994-1997)—Davies began adapting the 3D software for her own artistic purposes.

Her works Much of her works revolved in using the virtual world affects to her advantage and give certain sensations to users who could not experience such things in reality. Some of her well known works are: Osmose, Interior Body Series, and Ephémère. Osmose and Ephémère being works of virtual interaction and Interior Body Series were a series of 3D digital still images exhibited as large-scale light boxes in Canada, the US, Europe and Australia. Characterized by her painterly aesthetic—of luminous transparency and spatial ambiguity—as well as thematically-entwined references to landscape and the subjectively-felt interior body, these images established Davies' concerns in the digital field.

Much of her works revolved in using the virtual world affects to her advantage and give certain sensations to users who could not experience such things in reality.

Some of her well known works are: Osmose, Interior Body Series, and Ephémère.

Osmose and Ephémère being works of virtual interaction and Interior Body Series were a series of 3D digital still images exhibited as large-scale light boxes in Canada, the US, Europe and Australia. Characterized by her painterly aesthetic—of luminous transparency and spatial ambiguity—as well as thematically-entwined references to landscape and the subjectively-felt interior body, these images established Davies' concerns in the digital field.

Osmose Premiered at the Museé d'art contemporain de Montreal in 1995. Integrating 3D digital imagery and spatially-localized sound with full-body immersion and interaction—and multiple levels of transparency— Osmose has been internationally acclaimed as a landmark in new media art. Unprecedented in its experiential effect on participants, Osmose has been described by one historian as "receiving more attention in the international discussion of media art than perhaps any other contemporary work".

Premiered at the Museé d'art contemporain de Montreal in 1995.

Integrating 3D digital imagery and spatially-localized sound with full-body immersion and interaction—and multiple levels of transparency— Osmose has been internationally acclaimed as a landmark in new media art. Unprecedented in its experiential effect on participants, Osmose has been described by one historian as "receiving more attention in the international discussion of media art than perhaps any other contemporary work".

Osmose Images

Ephémère Premiered at the National Gallery of Canada in 1998. Like Osmose and her earlier work, Ephémère goes beyond static objective depictions of landscape and the interior body to present them as spatially-encompassing, fluxing environments. In addition to making use of the proprioceptive processes of breath and balance, Ephémère introduces gaze as a means of interacting with the virtual realm. While primarily designed for solitary immersion via a stereoscopic head-mounted display, Osmose and Ephémère are also performative works whereby viewers can observe and listen as "immersants" explore within.

Premiered at the National Gallery of Canada in 1998.

Like Osmose and her earlier work, Ephémère goes beyond static objective depictions of landscape and the interior body to present them as spatially-encompassing, fluxing environments.

In addition to making use of the proprioceptive processes of breath and balance, Ephémère introduces gaze as a means of interacting with the virtual realm. While primarily designed for solitary immersion via a stereoscopic head-mounted display, Osmose and Ephémère are also performative works whereby viewers can observe and listen as "immersants" explore within.

Ephémère Images

Interior Body Series

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